Book Review

As real as it can get

Book - Guide to Literary Criticism
Author - Professor D.C.R. A. Goonetilleke
Publisher - Sarasavi Publishers
Reviewed by Professor E.A. Gamini Fonseka

Guide to Literary Criticism by D.C.R.A. Goonetilleke, Emeritus Professor of English – University of Kelaniya, is really a boon to the readers of English Literature in Sri Lanka and abroad, not only as students and teachers but also as journalists, critics, writers, and scholars. After going through all the sections in the book, I realized that Professor Goonetilleke has filled the vacuum in the study of English Literature left by the disappearance of books I used to read as a youth, Reading & Discrimination by Denys Thomson (1954) and Analytical Reading by V.B. Sosnovskaya (1974), long out of print.

As Professor Goonetilleke states, his ‘Guide to Literary Criticism’ is not a reprint of his ‘First Steps to Literary Criticism’ that used to be a source of inspiration for self-learning students like me in the 1970s. In fact, the incorporation of ideas of seminal influences on modern critical theory such as Morris Dickstein, in the discussion, suggests, compared to its predecessors, ‘Guide to Literary Criticism’ marks a radical stance in respect of a critical response to a text. This also portrays the shaping the readers of literature should undergo in consonance with the current developments in the world of literature as well as in the visual and performing arts.

The book is in three parts: Part 1 is an elaborate view of meaning, form, and style. Part 2 contains prose and verse passages for critiques. Without realizing the meaning, form and style of a text, no criticism is possible. So as an indispensable aspect of the study of literature, Professor Goonetilleke has exemplified in his discussion that spans over some 70 pages how these vital aspects of a text are approached in an objective study. In the presentation of his approach, Professor Goonetilleke has based his exemplars on canonical texts from English literature belonging to different eras. At a time that most students and teachers are becoming lazy to research into the literature of different eras, that contain varieties of language and styles, Professor Goonetilleke’s effort would simplify the difficulties and clear the obstacles in their way to reading literature that represents different aesthetic, philosophical and historical movements. The glossary that appears towards the end of Part 1 is another useful feature of the book. Thus the book functions as guide in the real sense of its title.

Part 2 contains two sections occupied by verse and prose passages respectively. They are also not limited to a certain category or era, but represent an anthology appreciated by any sensible reader of English. While these passages remain test materials, in a separate section (Part 3), how these individual passages can be critiqued is demonstrated. In fact, these reviews of the passages concerned provide a model for the user to go ahead with the study of literary criticism.

By familiarizing oneself with the rationale, techniques, examples, models, and terminology present in the book, one is sure to develop confidence in embarking on reading and commenting on a piece of literature of any literary or historical period from any part of the world. In that sense, Professor D.C.R.A. Goonetilleke’s work amounts to a landmark contribution to the study of literary criticism. No matter what academic level they represent, I recommend ‘Guide to Literary Criticism’ to all academic institutions ranging from secondary education to tertiary education as fundamental reading material that every student of literature should have read. I am certain the book will receive a warm reception from the teaching and learning communities in Sri Lanka and other parts of the world.

(Professor E.A. Gamini Fonseka is the head of the Department of English & Linguistics - University of Ruhuna, Matara)

A good read

Book –‘Angchiya’
Author- Professor
Chandrasiri Palliyaguru

‘Angchiya’ is the title of Professor Palliyaguru latest novel. Though I am familiar with the creative writing of the Professor and have criticized and reviewed many of his books, the content and style of this particular book is somewhat different from his ‘usual’.

I have known the author for long. In fact he was the person who encouraged me to take up Western Classical culture initially. The reason was, he believed since I knew my Sinhala, I might one day be instrumental in introducing the subject to those who did not know English well enough. Hence I am indebted to him though I never would let that interfere with my opinion of his creative work. On the other hand I never believe that a writer or his work should conform to the points of view I hold regarding society, culture or politics. I love literature too much for this to happen.

The subject matter and background for the story is not a favourite among the writers in Sinhala. The reason for this, one might guess is that fishermen and fishing might be a sensitive subject for the concept of ‘ahimsa’ to the Buddhists. Though one may cherish fish curry in its various tastes, one would prefer not to think of how it came to adorn his dining table.

The ‘Angchiya’ is composed against the fishermen’s community, culture and way of living as well as their values. Their aspirations are not so alien from those of the average. In their heart are dominate human feelings of love, hope and survival. The only difference is that the gloom of death dominates their life due to their occupation.

The fishermen have to face the unpredictable moods of the indomitable sea, a force that has to be respected as well as appeased by various rituals. The author seems to have done comprehensive background reference before he had started on the novel. Or it may be due to his familiarity with the subject. Hence the novel is informative as well.

The body of the novel reminds one of ‘The Old Man and The Sea’. The repetition of the life endured by fishermen at sea and the dilemma of getting lost with no shore in sight and the engine of the boat gone and all modes of communication lost. But this is not the fate of one man. It is that of many. Since the characters are different to each other, their values and how they react to such a critical situation varies from one to another. The difference against the mortals and the changing patterns of the sea displays an element of heroism, though the reader may be reluctant to acknowledge it. It also strikingly reflects the futility of mortals and the flux of all things. Hopes against all odds for survival and their battle almost reflect on the grudging desire of the reader to move on. He would be impatient for the story to reveal itself but at the same time be disappointed.

It is against this backdrop the relationships are examined. The selection these men seem to be facing is what to hold to and of what to let go. Various faces of love in different contexts and different personalities clash or slide within the novel, just as the waves surrounding them.

They face the brutality of reality. It is against this that they are compelled to make choices.

The abrupt and unexpected end of the story is in sharp contrast to the body, enough for the reader to wish it could have been otherwise.

‘Angchiya’ is a good read and an interesting contribution to the creative field in Sinhala. I wish Professor Palliyaguru good health so that he may continue enriching the experiences of the readership.

(Kamani Jayasekera is Professor of Western Classics, Dept of Western Classical Culture, and University of Kelaniya)