West indian literature

A Lifetime of Learning Through Literature – The New Indian Express

Express press service

CHENNAI: This city – as (historian) S Muthiah used to say – is made up of people who came from outside. When you ask them where they want to retire, they say “ooruku thiripi pono”, but they never go back. Dilip Kumar is one of those interesting people (who is from outside Chennai and) of a different language. (Even though he is of Gujarati descent), he made Chennai his own, not only in terms of language, but also started writing and depicting the city in his works.

Such an introduction by historian Sriram V suited a writer who discovered and explored Tamil literature and then created his own short stories in Tamil. To discuss this trip, the writer sat down in a chat – presented by Madras Musings and Madras Book Club – with Judge Prabha Sridevan at Ashvita, Mylapore. was a. Having lost his father at a young age, Dilip started taking jobs to help out. It was at such a passage that he found his rhythm in writing.

Signature signs

As a salesman in a textile store, Dilip was under the employ of a boss who was used to experimenting with fabrics and liked to promote them through signs. “He would like me to write something about the fabrics on the boards. This is the tense I tried to use (the same) for quotes. An example was related to the short story Antharangam Punithamanathu, written in the 60s. Antharangam means intimacy or inside of you. So, I used it (to promote banyan trees and underwear) writing ‘Aniyungal, madhu baniyangal matrum jettigalaiye’,” the writer laughed with the audience. The signs were perhaps the first displays of his humorous takes. He also took the opportunity to write other important quotes, like that of John F Kennedy: “We must abolish nuclear weapons, or they will abolish us”, which was famous throughout the city at the time.

He continued to invest in books and eventually found his way into contemporary literature. “Tamil is an ancient language and always associated with classical literature. We have always emphasized the academics and the political arena. But there is also strong contemporary literature that is not like popular writing that focuses on serious (subjects),’ he told CE. Interestingly, he discovered this stream of writing accidentally through the writer Jayakanthan. He came across a small magazine in a tea shop and had to save two days’ worth of money to get it.

The magazine contained essays and short stories he was unfamiliar with, having only been exposed to popular writing until then. “My experience with Tamils ​​was very dignified and pragmatic and I realized that (what was in the magazine) was Tamil life, which was not reflected (in popular literature). Jayakanthan wrote about outsiders, interesting stories of people from the lower strata of society. I could identify with them; they accurately portrayed Tamil life,” he added. Gradually, he began to familiarize himself with various “unpopular but important authors, who looked at life through more sensibilities”.

Literature now

During the conference, Dilip spoke about his bookstore, his relationship with Cre-A’s S Ramakrishnan, and his eventual entry into the writing space. After exploring contemporary Tamil literature for several decades, he also saw the change that happened with modern literature which he described to CE. “After the 1990s, so much happened – with the Babri Masjid, the collapse of Russia, the Mandal commission, etc. – and suddenly there was a big change in attitude They slowly started to disassociate themselves from the social process. Moneymakers started calling the shots and it alienated the middle class and the kind of writing they were doing.

A writer may not be politically aligned, but there has to be some clarity in what you want to write. When you are aware or aware of these things, you suddenly become aware that you are not part of the system. In this (situation), what message or perspective can a writer convey to the reader. The common man’s view was that they didn’t know if they could make a difference, which made it difficult for a writer who wanted to write seriously. After 2000, there are many writers but it is not known if this kind of work will impact someone to have an inner life. There was a time when people in history always quoted a book. Now, your cultural experiences or your livelihood do not depend solely on books. There are many other avenues that shape your inner life,” he said.

CHENNAI: This city – as (historian) S Muthiah used to say – is made up of people who came from outside. When you ask them where they want to retire, they say “ooruku thiripi pono”, but they never go back. Dilip Kumar is one of those interesting people (who is from outside Chennai and) of a different language. (Even though he is of Gujarati descent), he made Chennai his own, not only in terms of language, but also started writing and depicting the city in his works. Such an introduction by historian Sriram V suited a writer who discovered and explored Tamil literature and then created his own short stories in Tamil. To discuss this trip, the writer sat down in a chat – presented by Madras Musings and Madras Book Club – with Judge Prabha Sridevan at Ashvita, Mylapore. was a. Having lost his father at a young age, Dilip started taking jobs to help out. It was at such a passage that he found his rhythm in writing. Signature signs As a salesman in a textile store, Dilip was under the employ of a boss who was used to experimenting with fabrics and who liked to promote them through signs. “He would like me to write something about the fabrics on the boards. This is the tense I tried to use (the same) for quotes. An example was related to the short story Antharangam Punithamanathu, written in the 60s. Antharangam means intimacy or inside of you. So, I used it (to promote banyan trees and underwear) writing ‘Aniyungal, madhu baniyangal matrum jettigalaiye’,” the writer laughed with the audience. The signs were perhaps the first displays of his humorous takes. He also took the opportunity to write other important quotes, like that of John F Kennedy: “We must abolish nuclear weapons, or they will abolish us”, which was famous throughout the city at the time. He continued to invest in books and eventually found his way into contemporary literature. “Tamil is an ancient language and always associated with classical literature. We have always emphasized the academics and the political arena. But there is also strong contemporary literature that is not like popular writing that focuses on serious (subjects),’ he told CE. Interestingly, he discovered this stream of writing accidentally through the writer Jayakanthan. He came across a small magazine in a tea shop and had to save two days’ worth of money to get it. The magazine contained essays and short stories he was unfamiliar with, having only been exposed to popular writing until then. “My experience with Tamils ​​was very dignified and pragmatic and I realized that (what was in the magazine) was Tamil life, which was not reflected (in popular literature). Jayakanthan wrote about outsiders, interesting stories of people from the lower strata of society. I could identify with them; they accurately portrayed Tamil life,” he added. Gradually, he began to familiarize himself with various “unpopular but important authors, who looked at life through more sensibilities”. Literature Today At the conference, Dilip spoke about his bookstore, his relationship with Cre-A’s S Ramakrishnan, and his eventual entry into the writing space. After exploring contemporary Tamil literature for several decades, he also saw the change that happened with modern literature which he described to CE. “After the 1990s there was so much going on – with the Babri Masjid, the collapse of Russia, the Mandal commission, etc. – and suddenly there was a big change in the attitude of the middle class They slowly started to disassociate themselves from the social process Moneymakers started calling the shots and that alienated the middle class and the kind of writing they were doing A writer may not be politically aligned but there has to be have some clarity in what you want to write. When you are aware or aware of these things, you suddenly become aware that you are not part of the system. In this (situation), what message or perspective can a writer convey to the reader. The common man’s point of view was that they didn’t know if they could make a difference, which made it difficult for a writer who wanted to write seriously. After 2000, there are a lot of writers but we don’t know not if this kind of work is going to impact someone to have an inner life. There was a time when people in history always quoted a book. Now, your cultural experiences or your livelihood do not depend solely on books. There are many other avenues that shape your inner life,” he said.


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