Yaazin Avali: A Review of Lutesong and Lament - Tamil Writings from Sri Lankaby Na. Kumaran |
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The reading
of Lutesong and Lament - Tamil
Writings from Sri Lanka proved to be an epiphanic moment for at
least one member of the Diaspora, namely this writer. Edited by Chelva
Kanaganayakam, Professor of English in the University of Toronto, the
compilation of translated verses of vernacular Tamil poetry and prose
from Sri Lanka is a glimpse of something altogether spiritual. The
editor catches your mind’s eye and guides you to look at this
seemingly impossible world of people, places, voices and experiences,
which mounts successive assaults on your visual and auditory senses. The
experience leaves you trembling in awe, realising that in the presence
of a kind of divinity, you are left tongue-tied, unfairly unable to
verbalise the experience. Nevertheless, this severely belated review
shall try to do just that. The title is
misleading at first glance. As inheritors of an oral tradition, the
creation and affirmation of myth as fact is a birthright of anyone and
everyone in Sri Lanka. The origin of the word yAzpanam (Jaffna) is
misted by myth as well. The popular version remains that yAzpanam was
gifted to a blind lutist who impressed a Chola king with his skill on
the yAz, a stringed instrument. Therefore there is an initial, albeit
hasty, appearance of the anthology being Jaffna-centric in content.
However, this quickly dissolves as authors and poets from various walks
of life begin to populate the anthology’s breathtaking landscape.
There is S Ponnuthurai rubbing words with NSM Ramiah and Dominic Jeeva
with A Muttulingam. There is the diasporic poet VIS Jayapalan, whose
verses run onto those of Colombo-based M Ponnambalam. There is the fiery
feminist S Sivaramani sharing the pages with S Sivasegaram. Just as Ki
Pi Aravindan’s (Christopher Francis) “Stare at the Sky” finishes,
Solaikkili’s (AM Atheek) “On a Wet Day” begins. Even generations
are not restricted as R Cheran shares the anthology with his father,
Mahakavi Rudhramoorthy. It is an eclectic sampling of regions,
religions, castes, generations and genders that leaves one gaping with
wonderment at its sheer intellectual honesty and literary talent to look
beyond these superficial differences and offer a multi-faceted look at
the common human condition. In his far
worthier review of the anthology, K Sivathamby writes that the book is a
deafening lament. In unison, a chorus of voices rage against social
oppression, ethnic discrimination and at having been rendered refugees
in their own places of birth, forced to flee to foreign imprisoned
existence overseas. Either consciously or unconsciously wishing to
contextualise Salman Rushdie’s 50 Years of Indian Writing among those of his ethnicity, the editor
attempts to trace a similar pattern in Sri Lankan Tamil writing with
Mahakavi’s “Ahalikai” and Sivasegaram’s “Ahalya” appearing
to form two ends of this literary timeline. However, as Sivathamby
notes, more than fifty years have been covered in the editor’s choice
of writers, as those of the likes of Ilangayarkone (N Sivagnanasundaram)
and Mahakavi had begun writing in the 1940s. While the editor’s
necessity to demarcate literary boundaries in an anthology is
understandable, the spirituality of the experience cannot be contained
within any physical or metaphysical timelines. There is neither
beginning nor end. It just is. Despite this being the case, the obvious
theme of the anthology is that of change. A change that was and
continues to be imposed by the Self as well as the Other, and one that
finds anguished expression in the furrowing of words on paper, eking out
a testimony of the travails and hardships of a people. Nevertheless,
the anthology begins gently. The sensuous verses of Mahakavi’s
“Ahalikai” based on the popular legend of the sage Gothama’s wife
extramarital but short-lived affair with Indran, the celestial king,
beckons you to inquiringly peer forward: “…She
gasps with pain, yet loves Like one
possessed his lips seek In the midst
of their love-making, the cuckolded Gothama returns, catching the lovers
off-guard. Angered, he curses Ahalikai to be transformed to stone while
Indran’s body “erupts in a thousand sores.” This darkening mood of
the poem foreshadows the darkening of themes in the rest of the
anthology. However, for
the time being, the anthology leisurely ambles forward. The idyllic
settings of the Vallai plains dotted with its hardworking but
quick-tempered Chelliahs and diminutive yet dominative Nallamas in
Ilangayarkone’s “The Silver Anklet,” the seemingly mundane family
matters in Ponnuthurai’s “The Chariot,” and KV Nadarajan’s
humorous anecdote of caste hypocrisies in “The Cadjan Fence” come to
a crashing halt in “Ancient Burdens” by R Murugaiyan: “Twenty
centuries of ancient baggage …To sift
the unwanted, collect the gems It is a rude
awakening. The lonely
cart carrying its young amorous load, tinkling down the uneven road
lined with trees gently swaying in the soothing moonlight breeze is far
behind us now. A different time dawns on the same world. A time filled
with uncertainties, of oppressive interrogative stillness, of broken
dreams and parched hopes, of crushed genitals and ripped vaginas rushes
to meet us, forcing us into its despairing embrace. The mood turns
increasingly darker as the anthology painfully shuffles through the
conflict-ridden 70s and 80s. This conflict manifests in prose and
poetry. In K Saddanathan’s “The Strike,” the very human
protagonist chooses to shy away from union politics while two radically
different brothers, Kulam and Seelan, in Ranjakumar’s “Kosalai”
find commonality in their induction into militant warfare. The poems are
more evocative. The turmoil of the Estate Tamils is captured in “Tea
Baskets” by Kasturi (Vasanthy Ganeshan), powerful in its brevity: “On greedy
scales The
political turmoil of the Tamils of the North and East find expression in
many of the poems including A Jesurasa’s “Your Fate Too,” P
Akilan’s “Exile Days,” Oorvashi’s (Jhuvaneswari Arutpragasam)
“Do You Understand What I Write,” B Balasooriyan’s “When Our
Peace Is Shattered,” S Vilvaratnam’s “The Grief-Stricken Wind,”
and in “Express This Grief in Song?” by AM Rashmy: “To war Several
important events of this period, which left an indelible mark on the
Tamil psyche, also find expression in the anthology. Nuhman’s
“Murder” is written in the aftermath of the burning of the Jaffna
Public Library (“Last night / I dreamt / Buddha was shot dead / by the
police, / guardians of the law. / His body drenched in blood / on the
steps / of the Jaffna library”) while the Indo-Lanka peace accord is
criticised in Shanmugam Sivalingam’s “The Gutter of Peace”
(“Seated for days on end / Thamil doves and Muslim doves / defecate in
the gutter of peace”). In his
perceptive introduction to the anthology, Kanaganayakam laments that, to
some extent, literature is left out in the translation. However, the
translators including the editor, AJ Canagaratna, S Pathmanathan, S
Rajasingham, S Thirunavukarasu, Lakshmi Holmström and S Canagarajah
acquit themselves admirably. They successfully capture the cultural
nuances and the “depth of experience” of the original works. The
fact that the reader is able to identify with the piece in spite of the
translation, speaks volumes for the powerfulness and permeance of the
original compositions. We sympathise with Ranji’s painful choice of
home over heart in Ramiah’s “Among the Hills.” We cluck our
tongues in disapproval over the treatment of Granddad in
Thamaraichchelvi’s “The Gap.” We embarrassingly understand why
Ganeshan is ashamed of his uncle’s dress and mannerisms in
Muttulingam’s “Butterflies.” These writings engage us just as much
as we engage in them. From the world of deserted villages with
bullet-riddled homes, we reincarnate in another one. This, the
still-born world of the Diaspora. Jayapalan’s “A Night in
Frankfurt” paints the lonely picture of the refugee (“Wandering
mongrel / dog-tired, prone in bed, / scavenge for a living / his days
crawl”) and Cheran’s “Meeting and Parting” fleshes out this
theme: “These
separate us: Long
mountain ranges, These unite
us: The
heartbeat of waves, This myriad
world, then, that is created by the anthology’s forty-five writers in
their fifty creative pieces seems alien and yet at the same time,
instinctively feels like home. There is something familiar about the
lonely cluster of Palmyrah trees framed in the blood-stained Jaffna
sunset that adorns the book’s cover. Whether it is Ponnuthurai’s
sleepy village life, Sivaramani’s oppressive war-torn nights that
drove her to suicide or being stuck in Jayapalan’s migratory limbo,
these images ring of the familiar. Like a cool jasmine-scented summer
breeze, realisation dawns amidst the rustling of memories in the
subconscious. This is not new. None of this is new. Gently, memories
raise their heads. The press of
bodies at a festival, the Maththani Kandaswamy Kovil bells chiming and a
grandfather muttering “Siva Siva.” Tales, tainted with awed
hypocrisy, of an ancient patriarch ripping a blouse off a lower caste
woman while years later, a progeny eagerly drinks toddy harvested by
those same arms. Yawning off cobwebbed dormancy, memories sit up
bright-eyed and awake. “Three servings of Pittu
with brinjals fried in sesame seed oil” fed by loving hands while a
bemused grandfather at his gates, scolding away bearded podiyangal.
Memories resolutely stand up, clamouring to be picked. Shirted and
shorted on the floor, learning nursery rhymes. Blades slashing the sky
and fleeing the red soil before it darkens. Colombo comes and goes.
Chennai hems and haws. Memories begin to hunt down the nomad.
Dozing off in the dusty mirages of Arabia and finally, rudely
awakened by the frost-bitten present. The anthology, then, is not a
microscope but a mirror, reflecting ourselves and our condition. But it
is a shattered mirror and a splintered condition and as you pick your
way through the shards, a sigh settles in the bottom of your heart.
Despite the smudges of time, there is a glimpse of home as you pick up
and stare into each piece and you unconsciously mutter, “I am Home.” By the end
of it all, as we collectively turn over the final page, the lute
mournfully plays on. Will a new generation of listeners heed its call? Lutesong and Lament: Tamil Writing in Sri Lanka, Chelva Kanaganayakam (editor), 2001, TSAR Publications, Toronto, www.candesign.com/tsarbooks, ISBN 0-920661-97-1 |
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