The Hindu : `Writers should not subscribe to any ideology'

Online edition of India's National Newspaper
Monday, Dec 02, 2002

Southern States

Southern States - Karnataka-Bangalore

`Writers should not subscribe to any ideology'

By K.N.Venkatasubba Rao

BANGALORE DEC. 1. Of several popular Kannada writers, Santheshivara Linganniah Bhyrappa (68) is unique for various reasons. Poverty made him work as a hotel worker, a gatekeeper in a cinema, a tanga wala on Mumbai streets, and associate with Gosais. With financial assistance from Gosais, he returned to Mysore and joined the Sharada Vilas High School.

He worked as a salesman and wrote stories for Kannada periodicals to earn money for his education.

He obtained a postgraduate degree from the University of Mysore and a doctoral degree (Truth and Beauty) from the University of Baroda.

He took to teaching and retired as a professor of Philosophy in the Regional College of Education, Mysore, in 1991.

He has authored over 20 novels and a number of literary essays. His works include Dharmasri, Vamshavruksha, Matadaana, Nayineralu, Gruhabhanga, Daatu, Parva, Anveshane Sakshi, Saartha, and Mandra.

He has won several awards, including those of the State and the Kendriya Sahitya academies. A majority of his works have been translated into English and various Indian languages. Films based on his works, Vamshavruksha, Tabbaliyu Neenade Magane, Grahana, and Matadaana, have won accolades at national and international forums.

Dr. Bhyrappa enjoys a wide range of readership for literary and other reasons. He was in Bangalore recently to inaugurate a two-day seminar on Shivarama Karanth. He spoke to The Hindu on the occasion.

Excerpts from the interview

Q: In the context of fast changing socio-political situation underlined by the estrangement of democratic forces and upper hand of religious fundamentalism, inescapable influence of the new economic order, and innovative technology, what forms the basis of literature, what should be its purpose, and what is the responsibility of a contemporary writer of your stature?

A: It demands a writer to give special answers. I am not committed to any socio-political ideology. For me, "rasa" forms the basis and serves the purpose of literature. Disinterested humanitarian outlook and honest delineation of the situation is the responsibility of a writer. What social ideology can one discern in Kalidasa's Megha Doota or Kumara Sambhava? Even Shivarama Karanth's Chomana Dudi is not an exception to this as it is also a humane response of a humanist writer to human plight and predicament. This is the edifice of "Rasika" or "Sahurdaya" tradition of literature. But a writer should observe a sense of propriety and commitment to values while dealing with his theme. The very process of creativity should not be reduced to a theoretical exercise of socio-political ideology.

Q: There are apprehensions that modern technology and market economy may obliterate regional languages in a phased manner. What is your understanding of the situation?

A: It is true that regional languages have been facing a serious threat. We have been destroying our traditions such as folktales, proverbs, and literature by depending heavily on English. Parents and political policies are responsible for the situation. We can save our language by introducing a change in our policies on education.

Q: You have stated that you are not interested in identifying with any literary ideology. Confirming your views you published an acerbic article, "Camus, Kafka, Sartre marigalinda satya nishta vimarshe sadhyave?" (Is objective criticism possible from the offshoots of Camus, Kafka, and Sartre?), in the early 70s. But, of late, you have exhibited irresistible passion or reverence towards the Vedic way of life and oriental values. You have even taken a definite ideological position in attacking Buddhist propositions in your acclaimed novel, Saartha. How do you account it?

A: The purpose of my article was to question the nature of objectivity then practised by a section of literary critics. I felt that it was not fair to apply the norms of literary criticism then in vogue in European literary world. My novel, Saartha, is based on the facts of history. I have done extensive research, and I cared for minute details of that period (Eighth Century AD). I have a great admiration for the teachings of Buddha. But I beg to disagree with two of his major propositions, "Sarvam Kshanam", and "Sarvam Dhukka". Contrary to these Buddhist propositions, the Vedanta says "Ananda" is the basis of existence. "Dhukka" is the lower state of life while "Ananda" is not. I am even critical of the Vedanta way of life, which is also evident in my novel. An important character, Shankaracharya, a staunch advocate of Advita philosophy, as "Prachannha Bauddha" (mock Buddha) is a point to note.

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