SONGSOPTOK: Do you think literature
is really essential in our life? If so why? In your opinion, what is the true
relationship between life and literature? What is your own experience? And how
does this relationship relate to the general history of mankind?
ANURADHA: Creative writing is
a gift. It is classed among objects for entertainment. But we all know that the
writer imparts humanitarian values through these artistic entertainments to a
certain extent, that is, as much as the reader can absorb.
SONGSOPTOK: We would like to know
the beginning of the story, i.e. how your upbringing contributed to your own
writing. Who were your favorite literary figures during the early period of
your life? How they have paved your early routes in literature?
ANURADHA: The list is endless
as I am a voracious reader. And because, early on I figured out the difference
between the so called bestseller and a classic, I read the latter. I strictly
believe that only those works survive through the ages which address some
universal themes so I tolerated the extensive descriptions of milieu and local beliefs
and focused on the universally relevant theme of a work. I’ll give you an
example: take the 1818 poem Ozymandias. Has it ever lost its universal
relevance?
My favourites were Hemingway and Albert Camus.
But this declaration narrows down the range of literary influences on my
writings. See, I write poems largely influenced by Browning and Eliot. I write
short stories but no thrillers though what I used to read in my teenage days were
all thrillers. And, name any writer, O Henry, Oscar Wilde, Ray Bradbury,
Somerset Maugham, Saki, D H Lawrence, Chekhov, Tolstoy and Hemingway; I used to
pick up one volume after another endlessly. Now I write novels – a thing that
has come to me as a gift, suddenly – and I consider them long stories. However,
two books have strongly influenced my worldview – The Name of The Rose by Umberto Eco and If on a winter’s night a traveler by Italo Calvino. These two books
made me think that it is important for a creative writer to claim one’s
authority as writer over and above all the 20th century literary
theories that have mushroomed. And my novel One
Word addresses this issue.
SONGSOPTOK: Do you think that literature also bridges the
human world with Mother Nature? As well as with the present time of our
surroundings?
ANURADHA: Nature is part and
parcel of human experience. And a writer is always eco-friendly. A writer’s
soul always harmonizes with Mother Nature.
SONGSOPTOK: What are the main events
that you think are the major issues that have influenced present day
literature?
ANURADHA: Present day
literature is influenced by the experience of war and strife. I remember one of
my students answered ‘save’ as an antonym for ‘attack’. I felt that the young
generation is fully aware of the lives at stake. We usually teach the word
‘defend’ as the antonym of ‘attack’ assuming that the two contestants in a
combat are equal in strength. But no.
Today all helpless people are attacked. So the need for saving others comes
uppermost in mind.
SONGSOPTOK: Do you think in this age of information and
technology the dimensions of literature have largely been extended beyond our
preconceived ideas about literature in general? Now in this changing scenario
we would like to know from your own life experiences as a poet, writer and a
creative soul, how you respond to this present time.
ANURADHA: I don’t have any
preconceived ideas about literature in general. Creative writing undergoes
continual changes in style and content. As social issues surface, these are
addressed by the contemporary writers. As for its success compared to, say,
films today, I think films can never beat the written word into extinction. I
have written by the promptings of my heart. Why I am publishing my poems and
stories, I am not sure if I know. But I do revise my write-ups to make them
more communicative before sending them for publication.
SONGSOPTOK: Now if we try to
understand tradition and modernism in literature, do you think poetry can play
a pivotal role relating the two? If so, how? What are your opinions about the
role of the poet in bridging the gap, if any, between tradition and modernism?
ANURADHA: Tradition too
changes with time. What is tradition today was modern in the 20th
century. Society is like a giant that takes slow steps progressively. Poetry in
every language has incorporated the traditional styles and come up with the new
in addition. I participated in two different poetry meets this year – one in
Udaipur (Oct. 14-15) and one in Vijayawada (Nov. 13-14) – where poets read out
ghazals in English. It’s fusion poetry, but look at its worth! A Maithili poem
was written on the theme of woman’s empowerment. That’s ‘modern’ for Maithili.
SONGSOPTOK: Do you think that
society is the key factor in shaping you up as a writer. What about your own
country? What is the influence of your country & your culture in your
writing? Do you believe that all writers are by and large the product of their
nationality? Is it an incentive or an
obstacle for becoming a truly international writer?
ANURADHA: The family is the
smallest unit of society. My family did give me themes to express in poetry.
Family, school, college, marriage and job, these are all unstructured
influences. The country I am born in decides the medium
of expression. I am a Bengali brought up in the Hindi belt, now living in
Punjab. I prefer to express myself in English – in fact it was the medium of my
entire academic career. However, a poet’s soul is always a world soul, one with
nature and one with the totality of humanity. I have never felt my experience
limited or my expressions stunted by my belonging to the country of my birth.
Everyone has a place of birth to identify with and motherland is not exactly a
poet’s only theme.
SONGSOPTOK: Do you believe creative souls flourish more
in turmoil than in peace? Why? Are you a protagonist of "art for art's
sake"? Can you please present us with your point of view?
ANURADHA: This is an
interesting question. So far I did not disclose how my parents influenced me,
but now I must admit, a measure of adversity is one of the keys to poetic expression.
It’s as if a part of you is snubbed and vents out in poetry. If the same is on
a wider scale, such as communal unrest or racial discrimination, the eruptions
are relevant for a larger number of people and a writer’s work finds more
publicity. I write according to the dictates of my heart, not prompted by
social issues in general. But in the long run, when I read what I have
published, I see a pattern. My writings reflect the 21st century in
many ways. You can read The Cobra,
for instance. I am a woman but I teach teenagers so I find myself expressing
teenage passions more often, taking sides with a man as much as with a woman.
Many of my poetic personae are just young males such as in the poems Pulse and Sometimes. There is a duet, Give
me a Rose.
SONGSOPTOK: Do you think people in general actually
bother about literature in general? Do
you think this consumerist world is turning the average man away from serious
literature? And do you think poetry or literature can solve any problems in our
everyday life? Why should we adhere to it?
ANURADHA: Yes, people do read
a lot. In fact, people have become more engaged with creative works because of
the support of the media. Novels that have been adapted into films definitely
find more readers. As for information and technology, people are busier; there
is less leisure. But yes, people are busier – giving attention to all the
demands, including reading. As I said, poets respond to the milieu as a volcano
that erupts due to pressure. Poetry is an expression of human nature against
uninvited suffering. Even a love poem is an expression of painful pleasure. So
a creative writer is definitely doing a service to the society. But unlike a
volcano that sweeps dead a section of civilization, works of art do not have
such a drastic effect. Gradually, people get influenced. Otherwise, why do we
have a list of writers from early 20th century India labeled as
nationalists?
SONGSOPTOK: Are you a feminist? Can literature play any
decisive role in feminism at all? What role can literature play to make our
lives better on a day to day basis?
ANURADHA: This question makes
me laugh. Ask male writers the same question. I write stories. I also express
female sensuality as in Lofty and in
the novel The Road Taken. I do
describe relationships according to my own experience of the man-woman
combination. But I am strictly against calling writers ‘feminist activists’ or
‘Dalit activists’ unless they do partake in propaganda of any kind. I believe
that my books are 70% products of personal experiences of me and my fellows
from the so far 40 years of my existence. The rest of the 30% is my projected
future – the future of a woman indeed, living in a much more civilized world
and living it wisely.
SONGSOPTOK: Now if we want to
look ahead, do you think that there is an oncoming crisis for literature in
general? Will it bring new dimensions in our life ahead? Or do you think that
the future of literature is not as bright as it should be?
ANURADHA: No, there is
nothing to suspect that creative writing will die out. It is an organic part of
human life.
Dr. ANURADHA
BHATTACHARYYA is author of 7 books, 3 of which are volumes of poetry and 2
are novels. Recently she has been honoured by Kafla Intercontinental,
Chandigarh, INDIA with the title of SAHITYA SHREE in recognition of her
contribution to serious literature.
We sincerely
thank you for your time and hope we shall have your continued support.
Aparajita
Sen
(EDITOR)
Songsoptok
0 Comments
