Let's read a 'weeping novel'

Reviewed by Hemaratne Liyanarachchi

A writer with an immense and indisputable creative power has, at last, appeared at the threshold of our Sinhala literature. He may, during his itinerant period of search for identity and recognition, have been tapping at the doors to make his presence felt without result.

But today he has hit, it seems, at the right spot at the opportune moment; and there he stands, garrisoned, as it were, compelling us to admit him.

Yes, he stands There Gerasim-like, this time hot just tapping but banging with the fists of Gerasim, the dumb giant serf of Ivan Turgenev not with Mumu his pet dog, but with his weeping novel, Kaluwarai Pura Handa tucked under his armpit....

But look! Our Gerasim Speaks!

Wonder world

He speaks neither of Russian Serfdom, nor of the nether world visits of Odysseus in Homer, but of the nether region, the wonder world of Colombo! The final result of which has turned out to be an evocation of the capital's underworld life in its full blooded corporeality. Never has a Sinhala novelist, hitherto made his Homeric descent in to this damned underworld of the capital of this blessed island which capitulates such captivating and detailed exposure with such on-the-spot immediacy.

Without any more dawdling let me begin from the very beginning. Kaluwarai Pura Handa starts with a four-paged preamble to the social background of the characters immediately followed up by a short run of pop ups of the main characters; Janadasa, Piyawathie, Ranjanie and Kalumahaththaya. These introductory peepings are very much reminiscent of the character launches which appear in some Greek tragedies as well as in some Sarachchandra dramas. They also help the author to set in motion his story in a smooth manner so that the reader is not unnecessarily taxed or burdened with unexpected dilemmas or perplexities.

Protagonist

Let me also try to give the story of the novel in a nutshell. Janadasa, the apparent hero of the novel, is a journalist who contributes a column to a left oriented newspaper under the pen-name 'Meemassa' – the Bee – He has visited Piyawathie. The prostitute, prior to the start of the novel, and also has established a relationship which later matures into a love. This development demands Janadasa to lead a family life with Piyawathie and her two children, Ranjanie the beautiful girl and a boy. These developments are a pointer to the most unconventional attitude to life of the journalist.

Ranjanie grows up under the mother's strict observation she does not want to see Ranjanie become a prostitute. But the girl runs away with a young lad who promptly turns out to be a drug-addict. Her life ruined, she is forced to be a prostitute – Piyawathie, after Ranjanie's elopement lives in utter distress only to become an invalid cared for by Janadasa who by now has become a full fledged slum dweller but for his gentle qualities. Klumahaththaya at the start of the novel is a gangster hired by businessmen for their ends who earns big money through drug dealing.

He enters the top circle of politicians and businessmen who then, like others strive to go up the ladder of politics. In the meantime, he 'saved' Ranjanie from the brothel only to keep her as his concubine. When he is about to get his nominations for local politics unexpectedly he is stained by one of the 'unidentified gunmen' who reminds the reader of the troubled eighties of political assassinations. Janadasa who comes from 'no-where' again takes to the road to continue the long journey of the lonely traveller.

Variety

The story of 'Kaluwarai Pura Handa' (Dark is the moon) is richly studded with many characters of variety who despite their brimming vigour of life dance their way into the untold depth of suffering which fact accounts for the unconscionable and unceasing exploitation at work. They, as a society, are manipulated by an unseen, huge machine behind which sits the faceless politician, the master.

Not one, but even several Janadasas, the author seems to suggest, could ever be able to bring about an end to this vicious dance of death going on endlessly in the face of faceless politics. The artist cannot, obviously offer a solution fo art has to stop where philosophy and politics have to begin.

But the writer has, quite knowledgeably, compensated for his seemingly 'evasive stride' by a very careful enrichment of the plot, characterisation and language of course with the exception of some questionable wielders. Long after the reader has finished, the three aspects mentioned above, I presume will continue to haunt him.

Developments

The most magnetic of the three, the plot, is ever evolving I say, because it keeps on developing and enlarging as the story proceeds. It incorporates into itself the innumerable developments of character, situation and also of the network of logicality involved in the making of the plot.

We must be able to differentiate between the plot, structure and story.

It suffices, I believe, to give the one example of the etching of Kalumahaththaya - one of the best characterisations to be found in modern Sinhala fiction - for all the three, aspects noted above. Kalu's character grows from childhood to manhood, from underling to chief drug dealer, from slum dweller to mansion owner. He enlarges in so many facets interlacing them to evince a most complex character street boy, an innocent victim of an elderly homosexual, street fighter, lackey of merchants, rich drug dealer and simultaneously the gentle man capable of love, tenderness and friendship.

Kalu becomes too dynamic and big that he displaces Janadasa to the position of apparent hero. The novelist bestows on Kalu the slum dialect as on other characters but with a difference. It abounds in a confessional and poetic tone which flavours Kalu's character with a gentleness. he craves for the vessel of ardent friendship into which he could pour out the fermenting and bubbling thoughts which issue forth from the depth of his being. This sacred moment of the dearness of heart in Kalu is a bright ray dazzling in the thick darkness which signifies a possibility of redemption.

Language

A word about the use of the language. Hettige has exploited to the utmost the vigorous slum dialect by which the reader is entranced from the start to the finish. But, I also feel that this dialect should not be used for narration for this area is common ground even to the future reader. This language is in a speedy process of transmutation. There is also a very clever use of the narrative method. The novelist keeps on intertwining the streams of thoughts of several characters at one and the same time for the flow of the story without his participation as author.

I have called this remarkable work a 'weeping novel' for several obvious reasons, two of which stand out very marked.

Firstly, almost all the characters, either consciously or unconsciously weep for they know that an unavoidable tragedy engulfs their lives. Secondly, they also are aware of the fact that they are destined to fall short of the most scanty happiness a human being aught to get.

Well - researched work on royal artificers

Reviewed by Pemsiri de Silva

In its long history of over 2500 years, Sri Lanka has produced a host of historic sites, families, architecture, arts and crafts, folklore among other traditions in different parts of the country. It is difficult to trace the ancestry and history of these families and their works for lack of consistent records but a number of sources including official documents, records from the National Archives and other libraries, various sannasas granted by the Sinhala Kings, lekammiti, vittipatra, tudapat, kadaimpoth etc. and research of other scholars among other sources are available to the earnest researcher.

In the case of artificers or craftsmen, the task is more difficult for as Ananda Coomaraswamy states," the names of artificers are not recorded in their work nor as a rule remembered except by their own descendants."

The book is an attempt to trace the history, ancestry and the works as well as the descendants of the royal artificers of an ancient village Mangalagama in the Kandyan Udarata. The village itself lies on the 54th milepost on the Colombo - Kandy road and is markedly visible by two of its characteristics in the form of its ancient Vihara and the ancient ambalama, now renovated. The village assumes historical importance because as Paranavitana states, "The role played by the Mangalagama craftsmen in the Kandyan Court was unique."

The study commences with a description of the origins of the clan of artificers in India, its mythical ancestor Viswakarama regarded as the revealer of the science of architecture and mechanics, their advent to Sri Lanka both before and after Vijaya in 483 BC and Sanghamitta who brought the Bo-tree in 289 BC. The origins of the village, its Bo-tree and ambalama are traced more particularly from the 15th century AD.

Bhuvanekabahu

During the reign of Bhuvanekabahu VI of Kotte (AD 1469-1477) there came a reputed Mulachariya from Dambadiva, who was brought to Kotte with full honours on the King's own elephant. The Mulachariya presented the king with a telescope and an hour glass (clock), In return for which the King granted him the village of Mangalagama as a nindagama and bestowed on him the title 'Mandalawalli.' All these facts and the Sannasas granted are recorded in the Vitti Patraya and given in Bell's Report on the Kegalla District 1892 and produced in the Appendix to the book.

Another chapter of the book gives particulars regarding the various sannasas granted at different times by the Sinhala Kings to the descendant families particularly in the Kandyan districts and supported by reference to such researchers as Codrington, Lawrie's Gazetteer, Bell etc. The details of the Mangalagama Vihara, and Bo-tree, particulars of the ancient ambalama especially its unique timbered roof and decorated pekada pillars as described so aptly in Ananda Coomaraswamy's masterpiece "Medieval Sinhalese Art" are provided in detail with relevant illustrations and gives a fascinating insight into the uniqueness of some of the historical structures of the country.

Another feature of the study is the author's research into the life and works of the unique Kandyan designer and architect builder Dewendra Mulachariya who is credited with designing and construction of the Pattiripuwa or Octagon of the Dalada Maligawa, other such works as the Magul Maduwa or audience hall and the highly original concept of the Cloud Wall or Walakul Bamma surrounding the Kandy Lake. He worked under three Kings, Kirti Sri Rajasinha, Rajadhi Rajasinha and Sri Wickrema Rajasinha. However, little is known or has been written of the life and works of this brilliant Kandyan designer builder.

His other architectural works and the stories behind the building of the Octagon, Magul Maduwa, the Cloud wall are described which provide an interesting insight into the intrigues prevalent in the Kandyan Court at the time and which ultimately led to his drowning himself in the Kandy Lake. The author has also researched into his family and descendants based on the Judicial Commissioner's Court Proceedings of the early nineteenth century in the Kandy Archives.

Painters

Another interesting feature of the book is the description of the works of the Kandyan painters or Sittaru, during this period. As a rule the names of the painters themselves are not given in the paintings and are known mostly through the various sannasas granted by the Kings as a reward for their work, illustrations are provided of some of the wall paintings in Dambulla, Gangarama, Degaldoruwa, Ridi Vihara and the Dalada Maligawa and the names of the relevant painters are given in the book.

Illustrations and descriptions are also provided of the jewellery and other ornaments produced for the Kings by the Mangalagama royal artificers as well as specimens of the ancient Sinhala royal crowns and the evolution of their designs from the Anuradhapura period (including that of Dutugemunu and Valagamba) to the 18th and 19th centuries and which is a unique feature of the book.

Finally, details of the recent descendants and their families are also provided including genealogy charts, interesting photographs etc. The appendix provides very useful information on ancient vitti patra and tudapat as well as old court records and law reports as supporting evidence for the study.

The author has utilised a number of references in the study including those of reputed scholars as Ananda Coomaraswamy, H. W. Codrington, H. C. P. Bell, A. C. Lawrie, Lorna Devaraja, K. D. Paranavitana among others, the details of which are provided and duly acknowledged.

Historical research

It is interesting to note that the author being a former Commissioner of Inland Revenue and is more knowledgeable on taxation, fiscal policy and economics on which he has written to various books and journals, has in this present volume ventured into the field of historical research perhaps on the influence of his former professors and lecturers in History and Sociology at the Peradeniya campus in its halcyon days.

In this he is not alone as one of his own colleagues in the department the late Gaston Perera also did the same in deviating from taxation to historical novels of the Kandyan period, as is well known.

The contents of the book would be of interest to scholars, researchers, students, historians, social scientists as well as to the general reader alike.

Lucid explanation of the significance of Poya days

Reviewed by Prof. Jayadeva Tilakasiri

Buddhism and Buddhist devotees have always received ample explanation and relevant expositions of its salient teachings.

It is no exaggeration to state that the Buddha's teaching and spiritual attainment have led to lucid comments and philosophical theorising.

The learned monks and even the prelates steeped in Dhamma learning and practice of the precepts have served as the most efficient purveyors of the essentials of the Buddha Dhamma.

The Arama Dhammatilaka Nayaka Thera is a very able exponent of the teachings, his contributions to magazines, journals and the press have benefitted both the educated laity and the average followers of the fundamental and even philosophical explanations.

Simple language

It is in this context that the above book and the series of publications he has to his credit that a reader is impressed with his ability to unfold in simple language the essentials of Buddhist religion, too which carries a great appeal to the devotees who need a proper onderstanding of the truths discovered by the Great Teacher thousands of years ago.

The theme of the book is the 12-month observance of the varied rituals and the intense study of the rites and practices especially connected with the devotion and dedication required to improve the knowledge of the realities of present day living unfolded in the sermons which venerable theras are able to present to the people on special occasions or assemblies in temples and shrines.

As the venerable prelate has acquired the ability to preach and write on the Buddhist themes relevant for the lay devotees who expect to hear from such experienced preachers his present title Dana Mana Sansana Pohoya Puranaya is indeed very topical and serving the purpose.

In his distribution of topics and subject matter in the book he has accomplished the aim of bringing the temple the observances, the offerings, the discussions into a coordinated scheme in order to make the holy poya day relevant and meaningful for the Buddhist laity.

Eminence

As the title indicates the author's eminence in many fields of learning, secular and religious, and the professional and academic attainments reflect the value of a booklet appealing to the ordinary folk who do not miss temple going on poya days.

It is also necessary to make a comment on the style and language of the chapters of the book, based on the contributions made by the author to the press, and published earlier. It is therefore, presented in a lucid, easily understood diction considering the wide coverage of readers of such books.

Reading of this book and considering the special appeal to readers it is beneficial to many who go through their journey in Sansara (worldly living) facing difficulties not merely physical, but mental also requiring spiritual solace such as is provided by the author's intention.

BOOK LAUNCH

Kosol Raja Dutu Budun Vahanse

Prof. Sunanda Mahendra's latest Sinhala book Kosol Raja Dutu Budun Vahanse was launched at Dayawansa Jayakody Bookshop, Colombo 10 recently. Prof. Mahendra is the author of Devdath Mavata Menavi Dangara Tharappuva, Metteiya Thera Vata, Niruvath Devivaru and Niralambanaya.

Kosol Raja Dutu Budun Vahanse is a Dayawansa Jayakody publication.

NEW ARRIVAL

Vidya Vinodaya

Anura C. Perera’s Vidya Vinodaya was recently launched as a Vidura Vidya Publication