Feel the mysterious nature of life

Reviewed by R. S. Karunaratne

Once the celebrated American author, probably half jokingly, told an interviewer from the "Paris Review", "May be every novelist wants to write poetry first, finds he can't and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing."

Ajantha Ranasinghe too wrote poetry first. His "Thivanka Rekha" was published in 1964. Then he became a lyricist. He published about six collections of his songs from time to time." Thunpath Rata", "Vikasitha Pem," "Pahan Dorin", "Udu Viyanak Irures Dothak", "Sopakala and "Ajantha Geethavali" were well received. All this means is that he never failed in poetry.

Then he began to write short stories. "Soldaduva Pera Peminiyeda" proved that he was good in that genre too. Having mastered the difficult art of writing poetry and short stories, he tried his hand at novel writing. I had no occasion to read his former novels such as "Mata Landuni Varam Netha", "Vinkal Baas" and "Kristhuni Kama Kala Menava".

Ajantha Ranasinghe's latest Sinhala novel entitled "Sihina Kumaru Saha Othomo" appears to be a creation of his personal act of vision. He uses all the elements of fiction - plot, characters, setting, point of view, style and theme - judiciously. His characters - Sumedha, Indika and Dayananda - are living with us wherever we go.

Sumedha, like many young lovers, is innocent, honest and a little naive, Indika living in the slums, dreams of leading a luxurious life. She is not happy with her lover - Sumedha - who is still a student. She tries her luck elsewhere. She is drawn towards Dayananda, a bank employee, but he proves himself to be an opportunist. Then she gets close to Wimal, a businessman but again she becomes disillusioned.

Through these simple characters the author weaves his story shifting the setting from a suburban city to a village.

When we read the novel, characters and events make their impression on us. We feel some design in life, that is, some meaning communicated through the pattern of the story.Although this is a fiction created by the imagination of the writer for the imagination of the reader, the illusion comes full circle showing us important aspects of human life.

It is not surprising for a slum girl to look for her prince charming driving his own car. Similarly, characters like Sumedha are not rare in our villages. As the story is well told, the reader's imagination will be ignited, I am sure.

To understand the effect of a novel, we must understand the way the writer achieved it. The novelist shows us what life is like by finding words for human experience and organising them into a narrative pattern. Being a master of words Ajantha Ranasinghe has no difficulty in creating word pictures.

The narrative itself and how it is presented evoke in us feelings of the mysterious nature of life.

So, "Sihina Kumaru saha Othomo" succeeds as a novel as it holds a mirror to human life.

Mathaka Mawatha (Path of memory):

Expedition into the past with memoirs

Reviewed by Ranga Chandrarathne

In this third anthology of poetry on memoirs, expatriate bilingual poet Sunil Govinnage revisits his island of memory, the places, characters that shaped out an important emotional landscape in his life. It is not only the people and places but also the poet being an outsider both in his motherland Sri Lanka and his adapted land down under that make the flesh and the blood of the poetry in "Mathaka Mawatha".

The anthology "Mathaka Mawatha" (Path of memory) is an embodiment of emotional upheavals of a very sensitive member of humanity, expressed eloquently, for the first time, in Sinhala poetry.

The anthology among other things codifies emotional upheavals, loss of one's motherland, being a cultural alien which is part and parcel of diasporic life and the growing generation gap from an objective perspective. At times the poet skilfully flashes back from the contemporary reality in adapted country or the second motherland to the fond memories of his youth spent in Sri Lanka.

Important characters, places, friends, visits to diverse areas around the globe and in Australia make up the landmarks of poet's extremely rich emotional life. With 'Mathaka Mawatha', Sunil Govinnage enriches the corpus of Sinhala poetry infusing diasporic experiences to it.

Memoirs constitute an integral part of emotional life. They may be pleasant or unpleasant. However, turning them into lucid and elegant poetry is a herculean task. Expatriate Sri Lankan poet, Sunil Govinnage, who had earlier written two anthologies on his memoirs and diasporic experiences, has come out with 'Mathaka Mawatha' (Path of memory).

The anthology is made up of 56 poems on diverse themes ranging from the poet's visits to many lands to his memoirs and experiences. Sunil Govinnage left Sri Lanka in the 1980s first to Thailand and then to Australia when the country's political situation was volatile.

However, unlike many Sri Lankans, he had not left the rich cultural baggage at the airport. In fact, he had taken country with him.

Although he has been living in Australia for over 22 years, he continues to write in Sinhala which is his mother tongue and has previously published two anthologies of Sinhala poetry "Mathaka Pilirau" (2007), "Mathaka Divaina" (2006) and "White Mask: New Australian Poems" (2004) and "Black Swans and Other stories" (2002). Sunil Govinnage is also the author of the novel "Black Australian", a novel about a Sri Lankan-Australian's journeys which is currently, being serialised in the Sunday Observer. In a note to "Mathaka Mawatha", the author explains the rationale behind codifying his waning memory in poetry:

"When my memory as well as friends known to me bid farewell, I realised more than ever, the importance of recalling memories. I also think it is as important in searching the path of memory as writing them down in the twilight of my life. "It was long ago I realised that like everything around me, things in the path of memory are also waning".

Unlike the youth in which the challenges of life were not accepted, middle age brings the shattering messages about life. Life is not a well executable project, but a surge that makes up of thousands of processes that no one can alter at one's will.

When we realised those expectations of the youth had not been materialised and the life is not a painting that can be drawn in any definite pattern, fear and shock begin to build. Although much nutritional food consumed and leads a very healthy life, one may face numerous diseases and age and at last, death comes like sun setting by ending the day.

We begin to react in different manner in a confronting these realities. "I consider my attempt at enter the path of memory as a byproduct of my process of recollection."

In the first couples of poems such as "Fremantle Veraledi" (On the Fremantle Beach), "Mathaka Mawatha" (Path of memory), "Sudu Wesmuhuna" (White Mask), "Perth Nuwara Irtu Hatara" (Four Seasons in Perth), the poet juxtaposes the experiences that he undergoes in his adopted land, Australia with his waning memories of life in Sri Lanka.

In the poem, "Fremantle Veraledi" (On the Fremantle Beach), poet recollects on the past and waning memory of a love while enjoying the sun set on the Fremantle Beach. Here the poet skilfully draws parallels between his waning memories and fading rainbow and the sun dips in the mute sea. Though they are natural phenomena, yet they remind the poet of memories of faded love.

"Aging and dying sun
In the blazing Western sky
Dips into the Mute Sea
The fading and dim rainbow
Kisses an old spectrum
In the blazing Western sky,
Among the vanishing white froth
That reaches the edge of the mind's beach
Bring forth the waves
Of the old memoirs
The white cluster of froth
That the waves bring in Draws on the beach.The faded tale of love"

The poem "Mathaka Mawatha" (Path of Memory) is also on a similar note. One night, during winter in Perth, the poet recalls the playful days that he spent in the comfort of his family as a child. The Kangaroo Paw flowers which blossom in Western Australia bring back the memories of plucking up cashew apple in his garden and happy days that he spent in a village with his family.

"To pick up old dreams.
To my island of memory. The world known to me blossom.
Like Kangaroo Paw flowers.
In the backyard of my garden, on top of the trees
Cashew apples have blossomed
I hurriedly climb the trees
To pluck red cashew apples".

The cold in the winter had awaken
Sporting a crazy smile at me Quickly runs into the darkness
Grabbing cashew apples in hand

In the poem "Sudu Wesmuhuna" (White Mask), poet evocatively describes how he has to wear a "White Mask" burying the language of his heart and thousands years old metaphors and rhythms as a result of his diasporic life in Australia.

"He writes poetry
Under a tree in the King's Park
In a strange language.
Burying mother tongue with.
Two-thousand-and-five-hundred-years
Of metaphors, images.
Abandoning eight thousand metres and rhymes
Now heard, only as memories.
Imbedded in a dream".

In the poem "Perth Nuwara Irtu Hatara" (Four Seasons in Perth), the poet once again, juxtaposes his emotions drawing parallel with four seasons. "Your love aged with time. Is a silent song.

But more flowers blossom.
World is a rare song"
The winter steps in
Like an old foe

Encircling my village Rough cold range of mountains. The endless days of gloom. Flow embracing

The winter ...

"According to the poet, like everything, love has also aged.

However, the process will continue with more and more flowers blooming.

One of interesting poems which describes poet's experience in his adopted country is "New Norciawe Gevu Rayak" (A night at New Norcia). This small town with a character of its own is located 132 kilo metres north of Perth and set up by a group of Benedictine monks.

The poet feels that he is at home in the small township with stone churches. The serene atmosphere brings a soothing effect on the poet's weary psyche.

"My home over the Mute Sea is far away.

But there is another room in house near the church.

There are signs that weary soul would heal.

Like a sage, wonder, there crystals and gems in my mind.

The poem "Mathaka Ruwa" (Image of memory) is about Siribo Hami of Imbulpe in Sabaragamuwa Province. When the young poet was posted in this village, it was Siribo Hami who found a place for him to live. In addition, the poet recalls how Siribo Hami shared his knowledge of folk-lore of the place and extended his hospitality.

The memory of the kind villager who was an embodiment of Sri Lankan hospitality was etched in the poet's mind.

The poet, who was then a youngster, has now reached his middle age and evocatively recalls the fading image of Siribo Hami immortalising his memories of people he met and places he visited in this remote village.

"The boy who came from the city to the village. Today traces the memory as an old man

Worried about you beyond the Mute Sea

Dear friend, though the memory died, I cried in mind.

One of the significant characters of the poet is his ability to compare and contrast the imagined village (Perth) in his adopted country and the villages and the memories he left. The globetrotting poet portrays brilliantly the idyllic village life in Sri Lanka in the poem "Rata Gama Weta Yanta Pera" (Before the departure to the village overseas). The poem was written at the end of one of his visits to Sri Lanka.

The poet recollects his childhood spent playing on the threshing paddy and the school he attended. The poem ends with a fine description of the sky above the Swan River which is now his reality. "Afar from the paddy field. Retained feeble memories.

Play with a ball the other day on a holiday.

Until the moon shone.

"Today memories of childhood gathered.
In the sky above the Swan River.
To be plucked tomorrow.
When I reached the village, overseas.

The poem "Ajith Samaranayake Nokivu Kaviyak" is an elegy on Ajith Samaranayake whom the poet knew for decades. Govinnage who could not attend the funeral of the brilliant Editor-in-Chief of English Publications at the ANCL, recalls with wetted eyes fond memories of his departed friend.

Today I joined the tear-filled masses.

Though I could not attend the funeral.

Though from over the sea today". "Mathaka Mawatha" will make a lasting contribution to the corpus of Sinhala poetry, enriching with its unique diasporic experiences. "Mathaka Mawatha" is a rare feast to Sinhala readership.

Assessing Sinhala Cinema

Reviewed by Kalkeerthi Edwin Ariyadasa

George Bernard Shaw, who was a critic of drama, in his early career, once evoked a response from an admirer. Perturbed by GBS' frame, the admirer asked: "Why has this man become so thin?"

Unfazed, GBS retorted with his usual wit: "This man has seen too many plays."

In a parallel situation, an admirer of the well-known film critic, Gamini Weragama, could very well wonder: "Why is this man balding prematurely?" And, Gamini Weragama could quietly respond: "This man has seen too many Sinhala films." Yes, that's true! Gamini Weragama, is among the foremost in the coterie of those who view films profusely, for professional purposes.

In many events associated with cinema, the presence of critic Gamini Weragama has become mandatory. There is hardly a panel of judges evaluating films for festivals, in which Gamini Weragama does not figure. He teaches cinema at academic level. He views films for state organisations, which need authoritative assessment of cinematic works.

But, in all that, there is a remarkable distinction. Of all the film critics practising today, he is perhaps the only one, who has continued to review Sinhala films over an impressively long period of time. His sustained reviewing is not limited to mere, routine observations about cinematic works.

In most instances, they are sensitive indepth studies, that creatively expand the cinematic experiences of readers. His body of cinematic discussions, is without even a shadow of doubt, a substantial contribution to the ongoing discourse, on cultural issues not only cinema.

By its very nature, the reviewing done for journals, could prove fugitive material. You read something in print and set it aside. Unless under highly exceptional circumstances, there is hardly any temptation to preserve such writings. In such a context, readers should grateful to Weragama, for anthologising his reviews in a publication. The book under review is the second in a series of collections.

At the outset, you are overwhelmed by the painstaking, meticulous effort, the critic has made, to assess and evaluate each film under review. While subjecting each film to keen scrutiny and analysis, he creates a readable essay to express his views. By this, his book becomes an absorbing collection of creative essays as well.

The cover of the book is adorned with a portrait of actress Nimmi Harasgama, in a pensive, inward-looking mood. In the present volume, Weragama, has included the reviews of thirty-five Sinhala films - ranging from Theertha Yatra (1999) to Anjalika (2006).

In his preface, Weragama, sets down the criteria, that determined the selection of these particular reviews. According to him, he has prioritised the "quality" of a film. Even where, there was serious hesitation about the "quality" of a given film, he has included it. considering its significance in the indigenous cinema-industry.

He introduces his collection, with a discerning sense of humility. He says, that his intention is not to establish prototypes or ideals of film-reviewing, but to see a substantial dialogue emerging in association with his views.

In his prefatory note, he observes, that the younger generating of our time, is unusually active in film viewing. Yet, there is a matter for deep concern in this development. These youthful film enthusiasts, concentrate mostly on the DVDs or the small-screen. Weragama makes an impassioned plea about the need to get these young persons to view films. This will make it possible for them to appreciate the creativity of a film more comprehensively. Besides, their presence in cinemas, could rescue the ailing Sinhala film industry as well.

According to him, film criticism, has a functional role to play in this process. Reviews should guide film-goers towards absorbed and informed viewing. Weragama, looks at a larger issue - the need to get a new tradition of cinema going criticism. Such a tradition, should actively work towards a reawakening of film - enthusiasm at mass-level. There is an urgent need for the State sector, to convene a gathering to take up such issues as setting up new traditions of cinema.

Criticism and allied initiatives, ensure the wholesome development of indigenous cinema.

Weragama's film reviews are a national chronicle that traces the progress of Sinhala cinema.

In his reviews, he displays a special deftness to extract the telling detail. What is praiseworthy about his reviewing, is that, he never descends to the level of cynically dismissing cinematic works, assuming a stance of superiority, as some so-called "critics" do. In his reviews, he displays a keen sense of understanding.

The series of reviews in this collection, should receive the attention of those who take seriously not only cinema, but also arts and culture in general.

How exacting a task it is to indulge in film criticism, with a vast sense of responsibility and above all recognising at all times, that one has to remain true to one's conscience. Weragama's reviews, represent a magnificent instance of trained "frequentation", in the field of cinema and associated disciplines. The work is not only an anthology of film. reviews, but is also a piece of Sinhala prose.

[Book Launch]
 

"Wayamba Deshapalanaye Mahathma Lakuna" authored by Minister Anura Priyadharshana Yapa was launched yesterday.