Plan for a new website on ‘Chandrabhaga’ (Founded by Jayanta Mahapatra)

Few days back I had sent an email to Rabindra Swain , notable poet and a close friend to India’s living legend poet Jayanta Mahapatra asking him for a permission to create a web site on Chandrabhaga — the poetry magazine from cuttack edited by Jayanta Mahapatra and Rabindra. Before the new year arrives, the mail from  Rabindra brought me a good news that I can now proceed with the proposal. Hope this new year will bring more poetic way of living our lives.

jayanta mahapatra and rabindra swain

About Jayanta Mahapatra (From Wikipedia):

 Jayanta Mahapatra is one of the best known Indian English poets. He also writes in Oriya. Mahapatra was born in 1928 in Cuttack, the city where he spent most of his lifetime.

Poetry
Prose
  • The Green Gardener, short stories

About Rabindra K. Swain

Rabindra K. Swain‘s books include two volumes of poetry, A Tapestry of Steps (Orient Longman, 1999) and Once Back Home (Har-Anand, 1996), and a critical work, The Poetry of Jayanta Mahapatra: A Critical Study (Prestige Books, 2000). His poems have appeared in The Kenyon Review, Shenandoah, New Letters, Verse, Weber Studies, Critical Quarterly, Contemporary Review (U.K.), and in Ariel (Canada).

Spot the Cards: My 7th Flash Lite (1.1) Game at Playyoo

I have uploaded “Spot the Cards” — my 7th game to Playyoo. In this game the user has to keep an eye on the 4 cards in shuffel and has to tell the correct position to score. This is one of my best games in Flash Lite 1.1. To download and play it free visit http://m.playyoo.com Here are some screenshots:

spot the cards

Orientalism

Edward Said’s Orientalism can be summed up in three following points: first he talks of the distinction between pure and political knowledge, shows the power relation of any text to political, cultural, intellectual and moral domain; secondly he shows how the methodology used by the West to define and interpreting the Orient is just a part of the process that Orientalises the Orient and how his methodology of “historical generalization” is different from all these previous methodologies; and thirdly he clarifies his position by explaining his ethnic background, scholarly interests, and social circumstances he has experienced as an oriental.

Following Derrida it can be assumed the concept of “Orientalism” or “orient’ a part of a binary oppositions pair, where the occidental forms the other side of this binary oppositional coin. Levis Strauss’ Methodology , if applied to this binary opposition, we reach at the same conclusion as Edward Said, that these two (i.e. the concepts of Orient and Occident; or East and West ) are the two ‘entities’ that ‘support and to an extent reflect each other'(p.5). To make it more clear, ‘Orient’ has come to be a part of our consciousness due to the process of categorization by the ‘West’ – i.e. Westerners’ view or presupposition about their identity, made the idea of ‘Orient’ possible. As in a binary pair, one’s presence is defined in terms of the absence of ‘the other’ (i.e. the opposition to it).In case of the Orientalism , (i.e. the discipline that came to front after the completion of this process or the ‘event’, the sense in which Derrida had used the term in his essay Structure, Sign and play in the Discourse of Human sciences) the ‘East’ is defined in terms of the qualifications of the ‘West’. In Said’s words:”European culture gained in strength and identity by setting itself off against the Orient as a sort of surrogate and even under grounded self”.

And this process of establishing the identity of ‘the other’ by creating the identity of the self , is part of the process which said terms in this particular case as being “Orientalized” which means the moment one tries to understand which means the moment one tries to understand culture, history and ideas, one from that moment comes under their direct force. That means when one expresses his interpretation, (which is essentially an work of art) can no longer be external as croce has remarked: ‘A work of art is always internal; and what is called external is no longer a work of art’ (quoted in Rene Wellek’s essay The Fall of Literary history).

That’s why Said has avoided presenting any notion or definition of his subject in his book (i.e. Orientalism) rather he chooses a the path of indirectness, by placing in to the pages the various ideas related to the Orientalism that exist ‘spatially and complexly interlinked’ in his mind and are a part of his consciousness which ultimately he refers to as his subject i.e. the “Orientalism” – the “transdental signified”. He is aware that this “transcendental signified” has been a part of the “collective unconscious’ of the west and has been growing since the very time the west is conscious about the ‘other sidedness’ of his existence, on various levels – physical, as well as psychological. This has been since that time of its evolution, has been expressed in various manners making reference to different geographical cultural and ideological difference that exist between the west and the east. To avoid complexity of our interpretation we can simply put this as the fact that due to the ethno-centric attitude of the west there came the relative measurement of various dimensions in the different cultural values, belief systems and this ultimately formed the concept of the “Orient”.

Said also makes this point clear in his introduction : “The orient was Orientalised not only because it was discovered to be oriental in all those ways considered common place by an average nineteenth century European, but also because it could be – that is submitted to being – made oriental”.

This indicates that the very process of distinguishing orient from the occident is itself a process of Orientalising the orient. Said’s use of “historical generalizations” (p.4) – which he announces in his introduction as a different ‘methodological alternative’ also could not able to escape from being taking part in the process of Orientalization.

This haunts Said as in the last lines of the third chapter he confesses that the study of orient involves a continuous process of degredation in knowledge,”If the knowledge of the Orientalism has any meaning, it is in being a reminder of this seductive degradation of knowledge”.And perhaps writing of Orientalism by Said can be seen as the very next added part of this process which he himself indicates in the following line:”Orientalism failed to identify with human experience, failed also to see it as human experience […] if this book has any future use it will be as a modest contribution to that challenge, […] that system of thought like Orientalism , discourse of power , ideological fictions – mind-forg’d manacles – are too easily made, applied , and guarded”. And to which he concludes that the accompanied degradation to this is ‘Now perhaps more than before’ .

That means he himself studies the process of which he is a part of . We need to understand how Said has attempted to describe the process of ‘Orientalising the orient’ by men in the past before him ( of which he becomes a part of , by writing his book , by doing explanations on Orientalism – which is now the aim of our experiment, to understand how the process of his explanation (on Orientalism) has the similarities to the this above mentioned process.

Said uses a new kind of methodology to bring the whole matter related to Orientalism to light. He does so as explains that :
‘Orientalism is not an inert fact of nature’– i.e. it is not only related to geographical reality .

it would be [also] wrong to conclude that the orient was essentially an idea or a creation with no corresponding reality,
He says so because he knows that the geographical sectors as orient and occident are man made, but along with that there is ‘a brute reality’ which is exerted by the idea of orient if they are at all any orient exists in ideas .

The fact that Said’s belief system when comes to front has a centre which alters its meaning and deconstructs it as no particular opposition of the binary pair ‘idea / thing’ or ‘mental dimension/ physical dimension is valid for more than an instance, so the moment he makes a reference to idea associated with the orient he discards the physicality of the orient and vise versa. From such reason we can assume that when an expression on the orient is made it either lies about orient or discard it it is because by ‘lying’ or creating myth about it, one can contribute to its existence, and the moment some expression is made to explain it, it is no more ‘that’ and hence it blows out its existence. Said points to this complexity in his introduction: “One ought never to assume that the structure of Orientalism is nothing more than a structure of lies or myths which, were the truth about them to be told, or simply blow away”!
What Said has done to solve this problem is that he coined a new methodology which he termed as “representation”.
That means he stresses through his book Orientalism on the aspect of how than whatof Orientalism. He tries to explain how orient is created than what it really is .

He through his historical generalization, moves from Flaubert to Sacy then to Renan and other Orientalists who build their own structures of Orientalism which forms a stack of structures, where no particular structure has while trying to understand the the ‘what’ aspects of Orientalism unconsciously created it .

Thus what the West did in the past to learn on orient created orient. and thus orient became an western invention.

That means that we are , by following Said , in fact starting a process of unlearning about the Orientalism , in order to let orient exist as it is . but the moment we attempt to learn about orient we are in fact from that moment starts off another chain reaction of changes in its existence—which ultimately leads us to no truth as the moment he we understand it , our understanding itself becomes a part of the invention of the orient.

He explains the epistemological aspect and historical aspect of the Orientalism which can be summarized in the following points:
the first phase of Orientalists were those who saw the rise of the Muslims in the Asian region as a threat to Christianity – during this period the Orient was defined as the geographical regions that was under the control of the so called pagan , barbarous non-Christian races , especially Muslims. They were considered as threats to the West , i.e. the Christian occupied European geography. This can be traced in Chaucer’s writings, Mendellive’s stories.

the next phase of the Orientalists were those who depending upon the first phase description began to explore these areas. During renaissance the spirit started and this continued for centuries. During this phase many militaristic adventures were made especially by that of Napoleon who planned to conquer the Egypt on both military and cultural ground. This phase continued till the creation of Suez canal and Orientalists like Renan, Sacy and Flaubert gave shape to the idea of Orientalism on the basis of their either experiences in the Orient or the views that they had possessed from their predecessors, which was shaped by the western attempt to define its supremacy over the concept that was termed as the Orient by the first phase definitions.

the third or the latest phase was brought forward by the process of de-colonization where the modern west men began to emphasize the differences of the Orient from the Occident; east from the West.
After this categorization Said put forward the theory of the ‘power relationship of knowladge’—how all these Orientalists of the three phase while defining the Orient have contributed to the process of the Orientalisation.

This is the power relationship of knowledge in the context of the orient.
The west tried to find his identity through an opposition to it and named it orient.

The ethenocentricism of the west made the distinguistions of other cultures from it and labeled all oppositional charactered cultures as oriental cultures.
Different parts of the west thus had diffeent views on orient due to their different geographical locations , which has created their own taste , own customs etc. thus “culectiveconciousness” of one part of the west saw its opposition in a manner , which was perhaps had subordinate place in the list of oppositions made by another part of the west. Thus their own definition of the orient differs .

This is exemplified by Said in the 4th section of the 2nd chapter tiltled as “Pilgrims and pilgrimages, British and French”

Well one may arise the question that if the ethenic values shaped by geographical locations in the west vary from each other , how can it be possible that they did not see each other as oppositions .

To this explanation can be found in the fact which Levis Strauss as well as Derrida terms as scandals . to put it plainly scandals are the characters that belong to the both oppositional sides.

And there in every culture there exists scandals. Due to the most common properties in between them (for instance Christanity) each part of west never saw each other as oppositional representation of it.

Now this makes it clear that there are as many number orients created as the western groups.

And thus orient is a set of imagination, values, ideas, customs, geographical locations which can be seen as the result of many attempts to explain self identity in terms of the other . thus orient was created out of the process of making an orient.

The next phase of Orientalists are those who, following the preconceived orient in their western mind tried to learn about it . Thus they became the part of the creators of the orient. Such phase includes Baudelaine and Sacy etc.

Thus the supposed to be ‘discoverers’ are themselves the inventers of the orient.

And the modern Orientalists who tried to categorise the diffent aspect of the orient became themselves another addition to such inventers.

Thus what we see in above that the process of learning is it self the mode of creation of Orientalism.

This is what Said explains as power relation ship of knowledge i.e. here knowledge exerts its power to build what it is about.

And this is the part of various degree of complex hegemony, which also includes the military and political hegemony f the orient ( in their general accepted meanings).

Another part to understand here is that the power relationship is essentially political here. It is so, because if the creation of orient as a subordinated field or structure can be considered as one of the political dimension of hegemony, then the learning about orient also owns this political dimension.

To make it more clear the moment the concept of Orientalism came to mind of the first westerner, it came as an opposition to his own existence. That makes it clear that we see orient in terms of its oppositional values of the west, i.e. Orient has been explained in terms of west and never the opposite. This ethenocentrism in knowledge about orient can be seen as a political hegemony. And we have no solution to it as we can explain the other of us in terms of what we are not. After that moment any reference made to us will be made only when we believe that the other exists . so , after that even if we are defined in the other’s terms still the underlying causes of the existence of the other is in our terms. So, if one will say that if orient starts to define west as its opposition then also , the existence of the orient is made from in the terms of the west. And hence the knowledge of the orient has its political hegemony intact.

© Samir K. Dash, 2004

Is the Formula of ‘Professor of Terror’, a Hoax?

The most remarkable thing I found in Orientalism, the reputed revolutionary text by Edward Said — more famously dubbed as the ‘Professor of Terror’ since 1999 by the rightwing American magazine Commentary – is the point where he talks of the power-relationship of the knowledge of the Orient with the socio-political and ‘culturally hegemonic imperial projects’ of the West. Said at first in his book distinguishes between two types of knowledge – ‘true’ and ‘political’. He points out the consensus working in academia the idea that ‘true’ knowledge is non-political. Rather he argues that the supposedly apolitical scholarly works we involved in ‘interest’ and geo-political power relation, and hence the texts are un-detachable from power relation of political, cultural, intellectual, and moral domains.

And this he relates to all the interpretations done by the Oriental scholars and discoverers, and forms a kind of conclusion that “Orientalism” is born out of the imperial projects of the West, where when the next phase of Orientalists or scholars try to form any ontological statement about the Orient, they only contribute to the process of what he terms as ‘orientalisation of the Orient’. He then raises the methodological question on the procedures of interpretations which were used by the Orientalists like Renan, Sacy etc. and were based on ontological interpretations of the East. He sees these methodologies as a threat to the process of de-colonization movement of the present day where the attempt is made to bring ‘minor’ or ‘subaltern’ voice to a position of equality with the ‘major’. He sees it as a threat because he finds these methodologies as some kind of machineries that turn the supposed discoverers of the Orients in to the inventors.

And with this he comes to explain his own position as the most recent articulator of the Orient and talks of how he has used a new methodology in his text Orientalism. After this short introduction to Said’s Orientalism now I feel it is time that I articulated the aim of this paper. My aim in this paper is to examine, whether Said is successful in applying his new methodology in his text? Whether the belief of Said that his procedure to articulate about Orient is totally free from the faults which Said has charged against the other methodologies and scholarly interpretations of the East or the Orient, used by the Orientalists before him? And last , but not the least , that is he really contributing to the part of the world wide movement of de-colonization to mend the gap between the ‘Occident’ and the ‘Orient’?

Said from the very beginning emphasizes that Orient is not just a fixed geographical fact, but it is necessarily an idea that has some social, geographical and cultural dimensions attached to it and is centered round the geographical locations of Middle- East centered Asio-African region with varying circumference for different western eyes. Said’s conformation of ‘Orient’ as an imaginative product of Western mind and as a set of myths and lies, helps him to proceed in his aim of unraveling the imperial projects that were engaged in creating these myths. And here he shows how power relationship between knowledge and the imperial designs for a cultural hegemony of the non-Western ‘other’ works. The first phase of consciousness of the Orient ( at this point I mean European West) came through the consciousness of Christianity about another religious power in the ‘East’. ‘After Mohammad’s death in 632 A.D. , the military and later cultural and religious hegemony of Islam grew enormously […] Christian authors witnessing the Islamic conquests had scant interests in the learning , high culture and frequent magnificence of the Muslims, who were as Gibbon said, “ coeval with the darkest and most slothful period of European annals” […] For Europe Islam was a lasting trauma […] a constant danger’ (Said, 1995,p.59) . This consciousness of the West about the ‘Orient’, then became the part of a process where one culture sees the growth of other culture as a threat to its own existence and interprets it in terms of religious hegemony. This mode of power-relation of knowledge of the Orient was supported with militaristic hegemony of the ‘Other’ even centuries after French and British imperial designs like that of Napoleon in Egypt and East India Company in India and its neighboring ‘Orient’ areas. Whereas Napoleon planned a cultural invasion of the Egypt 9 along with the regular physical attempt to dominate it) and for which he engaged scholars in Egypt to use modern rhetoric as an weapon to conquer the Muslim minds, in India, East India Company carried out such plans under William Jones who convened the inaugural meeting of Asiatic Society of Bengal in 1784, and through which the West attempted ‘to rule and learn’ and then ‘to compare Orient with Occident’ (Said, 1995,p.78), so that a claim by the British can be made that an English man knows ‘ the Orient more and better than anyone else’ (Said, 1995,p.78). Such a project continued through modern times through Renan and Sacy. And these methodologies by the Western scholars , (along with some other personal impressions of the Orient by some well known individuals and authors like Flaubert in the terms of the erotic and exotic richness of the Orient ) as thus seen by said as an ontological approach to the Orient, that suffers more or less with some fault due to some kind of preoccupation of mind – either shaped by imperial political designs or personal preoccupations with some ancient myths and individual opinion formed on the basis of some kind of sensations of mind received in terms of physical or imaginative aspects of the Orient. So, Said sees danger in such kind of approach to the Orient, as it contributes in ‘orientalising the Orient’. And to solve this he adopts historical generalization methodology in his book Orientalism, where he slips from the ontological aspect to the epistemological aspect – he begins to stress on ‘how’ the concepts of Orientalism, Orient, Oriental came to be a part of consciousness than ‘what’ exactly they are. He believed that his articulation is the way out of the problem of contributing to the Orientalising process.

As it is a ‘re-reading of the canonical cultural works , […] to re-investigate some of these assumptions, going beyond the stifling hold on them of some version of the master slave relationship’ (Said, 1995,p.353). But in my opinion we can see Said’s text as another addition to the chain of contribution to the process of cultural hegemony. What I am talking here can be more clear if we refer to Trinh T. Minh-ha’s remark.

Trinh T. Minh-ha in her quasi poetic book Woman, Native, Other, refers to the raise of the new form of assigning marginality, especially in case of the ‘Third-World woman’. T Minh-ha’s point is somewhat related to the fact that the process of ‘advertisement’ is itself a kind of contribution to the sense of ‘marginality’. Though Minh-ha’s references are to the ‘Special Third World Women’s reading, workshops, meetings and seminars’ that goes on advertise the gap between the Third world and western world woman – where the ‘difference’ is expressed in the remarks ‘It is as if everywhere we go, we become someone’s private zoo’ (Trinh, 1989, p.82) . Now ours is a case which can be viewed in the light of these observations. In fact nearly all post colonial and subaltern studies involve this problem. Here we see that Said’s attempt was to make us conscious about the crisis by choosing a path of indirectness, where he can safely make us aware of it, without contributing to the crisis. But what we see that the process of making us conscious is a part of the process that brings again the very same problem , because after publication of Orientalism in 1978, it became a ‘source-book’ ( as Spivak terms it) for modern subaltern studies and there by contributing to the process of learning the Orient.

One may argue that by sleeping unto the epistemology from ontology, Said has started a process of ‘unlearning’ the Orient, but then my answer is – knowledge is always a part of binary opposition of its presence and absence. If once a reference is made that a process of ‘unlearning’ is to be made for the Orient, then there also underlies a consciousness about the fact of ‘learning’. It is very similar to Hegel’s master-slave relationship, where after freedom the slave in his attempt to be equal , does everything that his master used to did , and thus there underlies the fact that even after freedom the slave needs the identification of the ‘ex-master’ to define his own. He is in need to explain what his ‘master’ was like, so that he can prove that he is no longer like his ‘master’ and is therefore equal. So, we see the process of modern de-colonization is in fact a process of re-inscribing the colonization or the concept of the ‘major’ at the centre.

This fact is important in our discussion, because many of the postcolonial theorists consider Said’s Orientalism a representative of one phase of their discipline. For instance Leela Gandhi, in her book Postcolonial Theory refers to this aspect of Said’s Orientalism and gives example of Spivak, who ‘has recently celebrated Said’s book as the founding text or source-book through which marginality itself has acquired the status of a discipline […]’ (Gandhi, 1999, p.65).Again we can view Said’s work as the voice of a subaltern,( and therefore his work is historical too ) . His attempt to make the world conscious of the true crisis , in which Orientalism now exists , is seen as his act of ‘survival’ on the behalf of his Palestinian race(and that’s why his work has been considered as a ‘source-book’ ).

Thus we see that though Said’s attempt is to bridge that gap between the ‘major’ and the ‘minor’; the ‘Occidental cannon of consciousness’ and the ‘Oriental cannon of consciousness’, he has not succeeded in reaching this goal as he in fact contributed to the process of learning the Orient more, and thus raised some more questions –

After ‘unlearning’ the dominant mode called Orientalism, what should we learn? Or is the concept of learning to be discarded, because knowledge necessarily entails power relationship? And the most important question that arises is that when Orientals themselves are involved in inventing or more precisely speaking ‘orientalising the Orient’ is there any solution?

In the conclusion of my paper I want to add that it is not that, Said was not aware of this very problem – to make it more clear, he was rather sure of it and this is why he never saw his Orientalism as a part of ‘response to Western dominance which cultivated in the great movement of de-colonization all across the Third World’ (Said, 1993, p.xii)

But whether he sees Orientalism as what others see it or not, doesn’t matter as it has already contributed to the process of ‘orientalising the Orient’ against his wish. And this fact can not be denied, that anymore attempt to solve the tangle of complexities that involves with the Orientalism, will simply strengthen the crisis. In the same manner, perhaps my paper is also an addition, to that very process of ‘learning’ the Orient and hence contributes to the crisis. But the cause I can use to explain my position behind this whole affair that includes the writing of this paper, is some what near to what Said has thought himself – that ‘the writer is obliged to accept that he (or she) is part of the crowed, part of the ocean, part of the storm, so that objectively becomes a greater dream like perfection, and unattainable goal for which one must struggle in spite of the impossibility of success’ (Said, 1993, p.27).

References:

Gandhi, Leela Postcolonial Theory, Oxford University Press, New Delhi,1998

Said, Edward Orientalism, Penguin publishers, Harmondsworth, 1995 (First published 1978)

Said, Edward Culture and Imperialism, Chatto & Windus, London, 1993

Trinh T. Minh-ha Woman, Native, Other, Indian University Press, Cambridge

English as a Medium For Indian-Writer

In a paper at Regional Conference of the Association of Commonwealth Literature and Language Studies Held at India International Centre ,New Delhi on February23-6,1975,R.Parthasarathy , while exposing the position of Indian writers in English reffered to the comments of American poets Allen Ginsberg ,Gary Snycler and Peter Onlovsky: “If we were gangster poets we would shoot you”(1), his threat was direct against the Indian writers’ failure to take risk with the English language.

To explain the reason behind this R.Parthasarathy says that there at least two problems which prevent Indian writers to take the risk.First is related to the kind of experience he would like to express in English .

Indian who use the Emglish language gets in some extent alienated . This development is superficial and this is why many blame ‘Indian Writers in English’(IWE) as writers who present India in a foreign view-point .There work doesn’t contain a deep analysis of the Indian realities and Indian characters .

Many regional writers (many of who are even Jnapitha Awardees) say writing in English in India is a severe handicap as it tends to make their writing export oriented .Hindi writer Rajendra Yadav puts it as : “The IWE take a tourist look at India , like Pankaj Mishra’s The Romantics , where he is simply a tourist who does not know the inner psyche of people or a more clever device Vikram Seth uses in A S uitable Boy ,the pretext of looking for a bride-groom ,which takes him to different locales and professions . It is a creatively written travelers’ guide .They travel into our culture , describe a bit of our geography ; their total approach is a westerner’s :a third rate ‘serpant-rope trick’”

Many believe that IWE is circumscribed by what only westerner can appreciate :either exotica or erotica .Both these elements are visible in Ruth Prawar Jhabavala’s Heat and Dust .There is description of shrines , Sadhus ,Nawabs ,Princes and their castles along with sex and gay-parties and Hijraas .Jhabvala’s picture of princely India is extremely un realistic ,quixotic and pseudo-romantic .Similar is the case of Arundhati Roy’s The God of Small Things . B.Jaya Mohan in a recent interview to Out Look magazine (February 25 , 2002) said :”Writers like Roy are superficial and exotic .When Roy uses English to express a Malayalam idiom , it might be exotic for westerner , but for Indians it is not very exciting .”

Still there are writers in English for whom a little praise is made ,but that even by another English writer.In an obituary to R.K.Narayan in Time magazine ,V.S.Naipul writes :”His people can eat off leaves on a floor in a slum tenement ,hang their upper clothes on a coat stand ,do all that in correct English ,and there is no strangeness ,no false comedy ,no distance” But still regional writers believe ; ” …but any Tamil writer would have put more life into his novels than R.K. did”.

The battle of the first kind of problem guides us into the second and this is ‘ the quality of idiom the writer uses’ .R .Parthasarathy says that ” there is obviously a time lag between the living , creative idiom and the English used in India .And this time lag is not likely to diminish”.

It is because the historical situation is to blame .Besides there is no special English idiom ,either .English in India rarely approaches the liveliness and idiosyncrasy of usage one finds in African or West Indian writing , perhaps because of the long tradition of literature in Indian languages .

This is explained by Kannada d Oyen ” writers in Indian language have a rich back-ground — centuries old literary traditions,flok tales and life all round them — the IWE only have frontyard”.That’s why Rushdie draws fom the ethos and Hindi of Mumbai,while writers like Narayan draws from Tamil and Raja Rao from Kannada .But still the idiom they use lacks in liveliness, because “it’s impossible to transfer into English the cultural traditions and the associations of language”.This is why it is not surprising that writers in English tend to over emphasize their Indianness . This also explains why Michael Madhusudan Dutt after publishing thesis first book The Captive Lady(1849) in English turned to Bengali to become the first modern Indian poet .

While a regional writer can directly concentrate mode of writing the IWE has to face a complex problem—‘he has to go through the tedious explanations of the idioms he uses in his book ,leaving little space for creative writing’.

Perhaps Narayan was the only writer who never cared for such explanations .Naipul writes (Time,June 4 ,2001) :

“There is or used to be a kind of Indian writer who used many italics and for the excitement ,had a glossary of perfectly simple local words at the back of his book .Narayan never did that .He explains little or nothing;he talks everything about his people and his little town for granted”.

But this is not possible for every IWE writer who wants to perform an experiment in creative English writing .R.Parthasarathy explains in the context of his own position as an English poet with Tamil as his mother tongue . “English is a part of my intellectual, rational make-up Tamil my emotional ,psychic make-up”Hence it is he believes that every IWE feels that he has an unnecessary burden to do the explanation of the idioms he uses ,and My Tongue in English Chain is a theoretical statement of this problem.

Russian scholar E.J.Kalinikova in Problems of Modern Indian Literature (1975) also refers to this problem in G.Byol’s words :

“National colouring is like naivete’ ,if you realize you have it ,then you have already lost it […] Conception of the Indian through Indian eyes is natural,and this only determine the scope of literary subject”, where as an English writer ofIndia tries to give .The elements in a foreign language for which the whole experience of that element is strange and in the end what is produced is in Kamala Das’s words:

“It is halfEnglish,half Indian

Funny perhaps, but it is honest” [An Introduction]

To provide a compromise M.R.Anand writes in his essay Pigeon—Indian:Some Notes on Indian English Writing : “The real tests are different The first test is in the sincerity of the writer in any language .The second test may be in the degree of sensitiveness or individual talent”.

And in what this talent lie ?Anita Desai has the answer :

“I think I have learnt how to live with English language,how to deal with the problems it creats –mainly by ignoring them”

This view is supported by Henery James –”One’s own language is one’s mother ,but the language one adopts as a career, as a study ,is one’s wife[…] she will expect you to commit infidelities .On those terms she will keep your house well”

Perhaps that’s why IWE like Raja Rao have justified their own stand as :

“We can write only as Indians[…] Time will alone justify it”

[Introduction to Kantapura]

Every writer (especially poet) ,as many believe ,sooner or later suffers from ‘Aphasia’ or ‘loss of poetic speech’ .His poetry ought to ,from the beginning aspire to the condition of silence.This is similar to Rene’ Wellek’s notion on Endgame of Samuel Beckett :

“Samuel Beckett in Endgame has been looking for the voice of his silence”

But Wellek’s view is applicable to the living force that still move the Indian English writers’ pen on paper .

“The artist,s dissatisfaction with language can only be expressed by language .Pause may be a device to express the un expressible ,but the pause can not be prolonged indefinitely”.

So, in spite of the problems related to language and diction in use , the writers must keep on trying their best in carving out on them ,their creativeness on experimental basis ,because that may one day lead us to where we are now caving to reach.

[From one of my old articles titled ‘English as a Medium For Indian-Writer ‘ ]

The Story of a Mask – II

mask2 

The evening breeze
shaking your hairs
while you sleep
among the pink walls of your dreams
calling me from the distant land
to play with you .. to be with you
to be a child like you again.

I try a lot
to own your innocence
that makes what you are —
an innocent angel,
to end up in an end
I realise — “I failed”.

You know the reason
there is the mask
behind which we talk
each words passed waith care
we are so careful!
Not to break the other’s dream
not even contribute to it
just be as we are
inert like a stone piece
be content with what we are — alone.

still I try to braek the wall
to reach out to you to tell you
what troubles my dreams
and my restless moments !

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The Story of a Mask – II (c) 20 March 2004, Samir K. Dash

All Rights Reserved. No part of the above poem(s) can be published any where in any form (electronic or non-electronic ), with out the written permission of author. However you can direct yours links to this page in your websites.

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The Story of a Mask – I

mask1

When you feel
the otherside’s fear
in deep core of your heart
you know
you are afraid of the other.

but moments ago
things were not the same
you planned to open yourself
to open your heart
to spill
what you feel about the other
who rests at the far corners of your heart,
and you feel afraid.

Life is like that my friend
you never know
what you longed to hear
are present in the other’s heart?
Life is a mirage
where you run after one
to find another
waiting for you
to seduce you to run after
you know all this
but you can’yt resist —
so sweet, the temptation…
so sweet the pain!

——————————————————————————————

The Story of a Mask – I (c) 20 March 2004, Samir K. Dash

All Rights Reserved. No part of the above poem(s) can be published any where in any form (electronic or non-electronic ), with out the written permission of author. However you can direct yours links to this page in your websites.

——————————————————————————————

Arrange15: Flash Lite 1.1 game at Playyoo

I have uploaded another Flash Lite 1.1 game Arrange15, where “You  need to sequence the numbers from 1 to 15 by arranging the blocks. Each block can be moved to left, right, top or bottom only if there exists a blank space next to it, using the arrow keys of your handset to select it and moving it by pressing the ‘Select button’. There are 4 levels to complete.”

To download the game for free visit http://m.playyoo.com

See some screenshots of the game below:

arr151.gif