‘Panhindaka Sanhida’ workshop for women writers :

Nothing to be censored in humanity

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Saman Wickramaraachchi is, perhaps, the foremost critic in Sinhala language. He is a critic who has seriously read ancient, contemporary and modern literature in addition to world literature. He is an objective critic with no allegiance to any literary school of thinking. Despite being a busy High Court Judge, Saman Wickremaarachchi actively engaged in literary discourse. He reads a PhD in Philosophy and Law, perhaps, first of its kind subject combination in Sri Lanka. Some of his literary works include translation of famous trial on the D.H Lawrence's controversial novel "Lady Chatterley's lover" into Sinhala.

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Here, perhaps, the foremost literary critic, author and judge Saman Wickramaarachchi speaks on the short story. He is one of the guest speakers at the ‘Panhindaka Sanhida’, a works hop for women.

I believe there is nothing to be censored in humanity - Saman Wickramaarachchi.

Interviewed by Ranga CHANDRARATHNE

Q: You are a guest speaker at the workshop and will speak on the short story. What is the contribution that a lecture of this nature can make to a workshop?

A: There are no institutions in Sri Lanka dedicated to teaching creative writing. Therefore, I think the workshops of this nature are essential.

Besides considering my invitation as a privilege, I would take this opportunity to express my stance on what the short story is. I consider it as an important opportunity. The short story is a matter of context. I would explain how short story differs from the novel in terms of context. I consider context as a cultural factor. For instance the application of language in a short story is different to the language application in a novel. Most of the time language in a short story is sublime and generes a gamut of emotions.

The language in a short story becomes emotional and sublime within a limited scope. I hope to emphasize on this factor. The novelist does not have that liberty because he can explain the matter with greater details in a larger scope. But the short story is limited. For instance, wearing seat belts is today a law and it is not subject to amusement in today’s context.

But this could have been subject to amusement and ridicule if that was imposed in the 16th century. This is the context. Particularly Garcia Marque’s short stories, not in his novels, ‘Hundred Years of Solitude’ being his most famous novel, sometimes, the context has been mixed up. Can a good creation be made by such mixing up of contexts? I hope that I can discuss issues like the above in relation to the latest literary trends and tendencies instead of thinking in the traditional way.

Q: How socially relevant is a workshop for women writers?

A: In a way, I think that when it is said that workshops for women writers, that shows a perception on the part of the women to segregate themselves from men. Women’s issue is none other than this segregation. Normally, things can be explained in terms of binary oppositions such as light, dark, good and evil. In addition, one part of the dual is put above the other in a hierarchy. For instance, good is hierarchically on the top.

This is the traditional way of explaining things. Simon de Goa, Jean Paul Satre’s mistress who assisted him in academic works. She authored “Second Sex”. She says in “Second Sex”, that male part is always dominant and prominent. Accordingly, what was taught was that woman is always a creation of man. Even in the Bible, this is the same. The perception of women is determined by man. We have the question whether this kind of exclusivity for women would amount to reaffirming the notion by women themselves.

There may be issues because of they being women. These issues are common to women writers. It is obvious that a woman writer has constraints. For instance, if a woman writer would write on sex, she may have to face different issues arising from being a woman.

But the societal reaction for a man who writes on sex would be different to his female counterpart. This workshop is important as it provides a platform for women to talk about issues unique to them.

Q: You have written in your articles about women writers and their work. How do you make a contribution with your knowledge for the betterment of women writers and society at large?

A: In my articles, I have discussed the women writers and their work.

Specially, I have dealt with writings of Sumithra Rahubadde, Sunethra Rajakarunanayake, and Shanthi Dissanayake. At first, I had criticised Shanthi Dissanayake’s writing. But later I recognised her maturity and gave her the due credit for it. I particularly like her rather free style of writing. I believe there is nothing to be censored in humanity.

The question arises for whom the censorship is? For instance, we show films before a censor board and give books for board members to read. The board members censor them. If society is spoiled by those censored works, why do the censor board members who read them and watch the films, have not been spoiled? If 17 members watched a film and said that society would be spoiled by them, how could they remain without being spoiled? This is one of the arguments the defence raised during the trial of ‘Lady Chatterley’s Lover’. However, it is up to adults to protect their children and safeguard them by denying accessibility to adult art. There should be works for adults. The purpose of art and literature is to touch upon the minutest senses of life. That is what James Joyce did through his works.

Through the techniques of the stream of consciousness, he tried to record the minutest movements of thoughts. But Milan Kundera says that Joyce has failed because some trends of thought slipped out of the process. France Kafka tries to grasp it from another angle. In Kundera’s “Unbearable light of being”, the main character or the protagonist is a philander who sleeps with more than 200 women. One by one, he explains the sensitive nature of women on the bed.

Through the love affairs, he explains the nature of life. Should we ban that type of literature? For instance, some material that people deem to be censored are in Greek mythology and Greek mythology is studied in schools and books on Greek mythology are sold in the market.

Q: What are your suggestions to develop this workshop?

A: I do not think that we can cover all the areas within a space of one day.

For instance, I was given 45 minutes to speak on the short story. The allocated time for my lecture is 30 minutes only and another fifteen minutes is for Q and A session.

I think that workshop should be expanded so as to allocate a day, for instance, for the short story and several speakers can cover the subject and another day can be for films. The workshop should also include practical sessions.

The workshop is opened for persons in the age group 18-35 and prospective participants are request to apply with creation not exceeding two A4 pages together with photocopy of the national identity card , on or before October 28, 2009 , to Sthri Shakthi Productions, 198/4, Sirimal Uyana, Nawala.