Sunday, May 17, 2009

What is Literature?

 What is literature? Is literature mere linguistic product? Or, it is more than that?

These are the questions that need to be addressed urgently and repeatedly by the reading/writing communities world wide. The contemporary literary theory has debunked the earlier humanist conception of literature and art. Formalism, New Criticism, Post-structuralism and Deconstructionism have critiqued the traditional Renaissance and Romantic conceptions of the role of literature, art and culture and successfully undermined the earlier notions about a unique writer and his work: as purposive, goal-oriented mental and aesthetic activities designed to change our old perceptions about our immediate surroundings, reality, status quo and the world, and an implied possibility of radically altering the ossified world working for a minority, on the basis of concrete ideas that can radicalize human consciousness. These current western literary/ critical theories deny any positive role to the aesthetic creator and the created both. Formalist/Post-structuralist critic holds that a work of art is nothing but a linguistic entity; the literariness is literature. That means literature is mere shadow of the linguistic practices of a writing community only. That, it is a thought/language-constituted thing only. There is nothing extra-linguistic about it. It is self-reflexive and self-referential only! In short, it denies the validity of an external, objective world, independent of man!

The literary product is a formal device with its own set of conventions and therefore, self-contained thing only. In one sweep, it deletes the purposive writer as the source of aesthetic meaning and social purpose and denies revolutionary or great art of an era or coming eras, the real possibility of changing the world.

This can be a dangerous argument for the already fragmented post-modern audiences and needs to be challenged.

Literature is a cognitive activity. It is material, highly-logical, well-structured, ideological and political activity that aims to reproduce the real world, at the mental level or thought level. The imaginary representations of literature can be radical or organic; avant-garde or conservative. Literature, as a formal aesthetic category, is expressed via language and refers to an external, objective, independent world, enjoying a purely reciprocal relationship. Language is community; community is language. It is dialogic, not monologic. It reflects the world truthfully and historically. If it is not, then, it is not great literature but pop literature created for the market;  it is not designed for enlightening the consciousness of the recipient and laying down foundational basis of slow historical change of the immediate world through praxis.

More on it, later!  

Thursday, May 14, 2009

The obituary


---Sunil Sharma

The man, in his late 30s, wrote his own brief obituary, before dying.

“I know nobody is going to read this last piece composed by a young man going to die soon. Alive, he was useless. Dead, he is like a roach. Absolute human trash to a society geared to respect power and money. Nobody will miss or cry for this retrenched man. It is rather good riddance for others. Life: What a sheer waste of human resources!”

Then, the thin nervous young man, living in an airless attic in old Prague---with a pale resemblance to Dostoevsky and Allen Ginsberg---took out his borrowed pistol and shot himself in the head that, said the few surviving pals who came for a brief funeral, always teemed with new ideas and voices.

“He was sensitive,” remarked the long-haired male friend to his bearded companion, in the funeral parlor. There were two others there: a black janitor and an aged blind woman who lived just below his attic.

“He wrote poetry,” said the bearded one, in a dry staccato of a voice that grated on the nerves of the blind woman who flinched.

“That nobody published or paid for,” said the long-haired, derision in voice.

“He was funny,” said the bearded one.

“How?”

“He thought he was the Unseen of this system.”

“A what?”

“Yeah. The Unseen. That was his word.”

“What does it mean?”

“What does unseen mean? It means UNSEEN only.”

“He must be nuts. How a man can be unseen?”

“Well, he thought so. Said that wherever he goes, people fail to see him. They do not recall or recognize him. That is what!”

“Oh! The Ralph Ellison thing!”

“The guy was sure crazy!”

“Sure he was! People do not shoot just for being Unseen.”

“People do that crazy stuff.”

“I do not know who did that.”

“Hemingway did that.”

“Oh!”

“Virginia Wolf did that. Sylvia Plath did that. Monroe did that.”

“Oh! The Howl!”

“What is that?’

“Ginsberg. Let us talk something else. Suicides are a turn off for me.”

“Let us talk sex then. It can turn us on and make our daily dysfunctional lives more spicy and interesting,” said the bearded one, adjusting his frames on his flat nose, and, peering over them to look at the two other mourners busy chatting in the corner of the dark small room.

“Good idea. Sex talk in funeral parlor! It is cool stuff!”

They both laughed a small laugh.

“One thing is certain. He has finally found peace…in death.”

And both the middle-aged friends of the failed artist agreed. Then, the long-haired one lit up. The bearded one continued to stare at the funeral box…the way you stare at the afternoon gleaming railway lines at a country deserted railroad station, in the Chekhovian Russia…

 

Butterflies, Grandma & Me


--Sunil Sharma

 

My grandma had a strange secret. She could turn easily into a butterfly! I never knew it—till the age eight. The discovery left me thrilled. My little thin granny, a secret butterfly! Wow!

That moment is still vivid. It was a warm night. Hot wind was blowing across the small town buried in the dry drab desert, hissing loudly. The lights were out everywhere. The strong wind was rattling the tiles of the far-off cottages, like an angry giant, where railway employees lived with their families, near the gleaming tracks. We were lying on the roof of the two-storied stone house. A huge moon had come out early; the sky was awash in milky white colour. The big-eared and tall rabbit stood on its legs, its ears raised, peeping down, looking directly at me from that high- perch moon floating like a white ball in the vast solitude of the heavens. In the distance, a lonely lamp burnt in a shrine on top of a dark barren hill. The wind suddenly shrieked in my kiddy ears.

“Wind is fuming tonight.” Pronounced grandma.

“Why?” I got frightened. I always do—getting scared easily.

 “Hissing wind is no good. It means somebody somewhere will die.” As if on cue, a dog wailed terrifyingly, followed by wailing others. I shrank inside. “I want to go and meet my Momma.”

“Sorry. You cannot go.”

“Why?”

“She is ill. In the hospital. Will return in a week or so,” said granny in a gravelly voice.

I grew silent. Tears poured down like big raindrops falling on the lotus petals. My body shook. Grandma ran her steely claws in my tousled hair. I cried silently, frail body shaking. Desperately wanting to flee the set up.

 

My mamma came floating in the white clouds, arms outstretched pale face smiling. The harsh desert wind blew into my tear-stained eyes.

“I know, child, what you thinking.”

I looked at her, bewildered. “You want to fly away?”

I was shaken. How does granny know?

“Quite often, I feel the same way… I also want to fly away… to a distant place…a far-off place.” I dried up my eyes with my tiny hands and looked up at her.

“And I often do.”

My jaw dropped. “Grandma can fly?”

She said, “Yes. When I want to fly, I turn myself into a butterfly.”

“What?”

“Yes, child. I can easily transform into a butterfly and soar into the skies. Up, up & above, flying gently in the nightly sky, on my two light wings, drinking in the pure air of the heavens, nothing to worry about…”

I forgot mamma and listened hungrily.

“How can you become a butterfly?”

“Oh! That anybody can do. Even you can do, once you grow up as a woman, get married and have babies. Not before that.”

I was speechless, imagining my fragile body turning into a butterfly.

“Grandma, when do you fly away?”

“Whenever I feel like. Mornings. Afternoons. Preferably, on the long and lonely nights.”

“But science teacher once said butterflies do not fly in the night.”

“Oh, nonsense. I can fly any time I like. I can fly off in nights also.” I was just thunderstruck. It was awesome. My grandma, a butterfly and a night butterfly at that.

 

“Does grandpa know this?”

“No. And do not tell that old nasty man ever. He does nothing but shouts at me all the day. Always yelling, cursing. When he gets nasty, I become irritated. So I withdraw into the attic and then vanish into the open air as a butterfly. The old man searches everywhere but does not find me. Ha, Ha Ha!”

“What, if he finds out?”

“Oh, I will never be human again. I will remain a butterfly only, trapped in that fragile form forever.”

“How?”

“Because he will kill my paper butterfly figure kept in a book of mine. I will not be able to get back to my human form.”

“Does anybody know this?”

“Nope. Only you.”

“O.k. I won’t tell anybody.”

“Good girl.”

We kept quiet. The stars shone bright.

“Grandma?”

“Yes.”

“Can I become one, a butterfly?”

 

“I told you, child. You are already a butterfly. All girls are.”

“No but I want to be a real one.”

“You will, once you get married. The time will find you at the right moment and then, you will become one, like me. It runs in our family.”

 

That warm May night is etched forever. That night, on the hot roof of a two-storied, non-descript stone house, buried in a small desert-town, I imagined I was flying like a butterfly. Up, up and above, soaring, looking at the tall rabbit in the moon.

 

 

Today, I am holding the paper butterfly that my small, thin daadi had made some twenty years ago and kept it hidden in a book of poetry. Today, I was going through her things forgotten in that attic and found the lifeless paper butterfly that suddenly grew live in my hands and flew away.

          “You will become a butterfly at the right time,” she had said that night, pausing long—it was a message she had again delivered on her second death anniversary, today, suddenly to me—Once you get married, have kids. She had concluded on that magical night many many years ago.

 

I understood her in an instant—My paternal grandma was speaking through the yawning gap that divides the dead from the living.

I came down running to the stale small room where my ailing father was lying on the bed.

“I am not going back to my married home.”

“Why?”

“Because I do not want to get hit in the stomach or the back, repeatedly. I do not want to be treated as an unpaid slave to my husband and his abusive clan. I am a post-graduate with a degree in computers. I am not a machine.”

Father said nothing, stunned as he was for a minute. Just then, hundreds of monarch butterflies entered the room, circulated and circled above my head and before I could say anything, I became a butterfly and I flew out with my pretty winged sisters into dazzling sunshine. Into pure freedom. Granny was right. It runs in the family after all. She had passed on the rare family secret to me at the right moment.

Monday, May 11, 2009

Poems

Finding Meaning
---Dr. Sunil Sharma

Finding meaning
In the crowded metro is
Like searching for pure love
In the busy and garishly-painted
Whore- houses of Bangkok.

It is like waiting eagerly
For an empty local train
In Mumbai.
Or,
The disciplined Blue-line buses
In Delhi,
Or,
Searching for fresh tomatoes
In the dim vegetable markets
In the evenings,
If you get them,
Then it is really
A big miracle!

A Sufi found one
In unusual places.
Finding meaning,
Said the venerable figure
From Turkey to me,
Is easy job and I did that
By giving a rose
Covered with the dew drops,
To an ailing old mother,
Abandoned in a bleak parking lot.
It is feeding the street kids,
Saying gentle words
To a man out of job,
And holding hands of a
Grieving father
In Gaza,
On a blazing, missile-lit stormy night.
The dawn poems
---Dr. Sunil Sharma

The little poems seize
And
Wake you up
From the deep slumber---
A bit before dawn,
And compel you to
Compose them as it is,
On your silent PC/ blank papers,
The words forcefully dictating
The sleepy poet
Like a stubborn don.

Quite often,
They are like
Precocious restive children, returning from a romp,
Waking you up
Literally,
With their sweet laughter
And loud merry voices,
Erupting around,
And an overworked you
Do not mind
Attending to this happy bunch
Of pure, blessed sounds.

The words
Sometimes are---
Like a wandering old Jew,
With a white flowing mane,
Finally,
Finding his precious resting home.
Silence of the urban spaces
---Dr. Sunil Sharma

Silence is---
Sending an e-mail
And,
Not getting any reply
From a dear friend.

Silence is---
Not getting even a plastic smile
From a stiff colleague,
Who smiles at others routinely
But
Becomes temporarily very grim,
As if in deep mourning,
After seeing you
In the narrow office corridor.

Silence is---
In a family function,
Relatives bypass you,
And serve the corporate types
Because they are getting
What you are not.

Silence is---
When you expect a short visit
From an estranged brother or sister,
On your 45th birthday,
But
Even after a year,
Do not even get a brief telephonic call.

Silence is---
When close neighbours,
Suddenly
Switch on their imported mobiles
In the
Elevators,
Discussing business
While you become a dark phantom---
Watching it all.

Silence is---
When your spouse deserts you
For a better-looking person,
With a better-paying job.

Finally,
It is---
Being judged by your clothes,
But not by
What you are.


Inner Void
---Dr. Sunil Sharma

Inner void is---
The dust-laden acacia tree,
Standing
Solitary
In a nook of
The dry forest
Of
Ranthambore tiger sanctuary
Of Rajasthan.

It is a hot warm June evening,
When you---
Detached,
Unnoticed
And lonely---
Leaning on the parapet,
Watch the throbbing street,
From the unlit terrace
Of your 13th-floor tiny flat.

It is most poignant,
When your young
Pre-teen soft hand holds
The strong hand of your
Beloved dad,
Now strapped to a support system in a costly
Private bed,
Of a pricey small hospital,
The oxygen mask slapped
On his wide, once-smiling, gentle and radiant face,
Your impotent tears mingling with
The graying hairs of his
Unfeeling broad hand.

The inner void is---
Coming back from work,
And
Expecting boisterous kids
But surprisingly
Finding the house completely empty,
As the summer holiday has begun
And realizing that they all left two days’ ago
For the far-off native land
Then, at that moment,
You feel like your aged parents,
Who always cry,
When you leave a small cozy childhood home.
Hi,
writers are increasingly marginalised in to-day's fast-paced, tech-driven world. Art itself has been greatly devalued. The term Literature has become a problematic. Writers are no longer viewd as a unified source of meaning or as an intentional, rational human agency, with a heightened sense of beauty or an organising vision of the given reality. The Author has been gleefully decentred from the literary/ artistic universe. Literature is literature; creative and conscious act of a thinking mind is no longer a finished and fine literary product but mere assemblage of words and references; in short, mere impersonal recording or writing of external influences blindly or mechanically reflected in the text. It shows that author is no longer trusted to-day in mass society. He is a mere inscribing instrument selected randomly by a given, pre-existing linguistic system. he has no cntrol over his medium, no totalising vision, no intentional aim or objective. He is no longer accepted as a prophet but has grown as a cog in the vast churning social process, where meaning, truth, value, agency, aesthetic goal, personality and an anchoring centre all are destablised and all these elements are in perpetual flux, producing only indertminacies, doubts and agnostic attitudes. Meaning is no longer stable category. No meaning, no agency, no possibility of a rational world or a rational change as per the dialectics. Everything of solid value is decentred. Only flux remains.Vision, subjectivity, intentional mind...they are all deconstructed and made redundant. only little narratives remain. there is no hope in this bleak scenario for a radical change! fragmentation is achieved of things solid. really sad commentary on art and philosophy that have a tremendous radical potential to alter the status quo.