Courtesy - Sunday Observer
By Ranga CHANDRARATHNECandid in expression and plain in diction, Punarukthi, a biographical novel by Anoma Janadare, reveals gory aspects of domestic life in an impoverished Sri Lankan family where under the facade of a patriarchical society, women’s rights to a decent life have been brazenly violated at the hands of male members of the family.
Bedevilled by the polygamous relationship between her mother and an uncle and the passive reaction of her father and brother, the protagonist takes her own course in searching for personal liberation in a male-dominated Asian society.
The story is told from the victim’s perspective. Though Punarukthi is disarmingly candid in its expression, much of its literary value, if there is any, has been diminished by its rather blunt and crude diction which disqualifies it being categorised as fiction or a novel at all.In an exclusive interview with the Sunday Observer, the author of Punarukthi, Anoma Janadare spells out the background and the circumstances which prompted her to come out with the biographical novel.
Q: You are a professional actor and you have not tried your hand at fiction writing even for pleasure. But Punarukthi reveals your writing ability. Can we interpret you writing the novel as your entry into fiction writing?
A: It was during the period I learnt Marxism that I learnt that the fountain of creativity lies within the oppressive socio-economic conditions. The writer in me may have been stranded among my thoughts. My writing ability was sharpened only when I tried to write the novel.
At times, it proved harder than acting itself. Up to now, I have not used art to earn money or fame. Therefore, I am honestly committed to arts. I am happy if you have identified my talent in writing. Thanks for appreciating it.
Q: You have described Punarukthi as your biography and therefore, this is more biographical than a novel. But you interpret it as a novel. You declare that you have no intention of becoming a novelist or you are not suffering from 'Swarna Pustaka madness' (The Swarna Pustaka Award is given only for novels). Then how does your story become a novel rather than an autobiography?
A: I could remember there was such a controversy over Prof. Ediriweera Sarachchandra’s Vilasiniyage Premaya. He described it as Champu Kavya (mixture of prose and poetry). But he won the State Literary Award for the best novel. For critics, it became a controversy.
Those who are sensitive to literature such as Piyasiri Kularatne, Parakkrama Kodituwakku and Jayatilake Kamallaweera have seen a talented novelist in my story.
The way I write, the biography had assumed the nature of a novel from first person narrative. I mentioned 'Swarna Pustaka madness' to attack highly-commercialised literature and to salvage it from commercialism.
Temptation and deception
Q: ‘I was deceived by the temptation to expose my nudity in acting’. I took the above extract from the introduction to Punarukthi. How should the readers perceive this ‘temptation’ and deception’? Can you level such allegations as an intelligent feminist and revolutionary woman?
A: It is entirely a question of creative ideology and professional values. At the early stages when we entered the arena of acting, we were prompted by Marxist ideology.
Then we did not suspect one another. But later on, in an attempt to establish ourselves in the city, creators who had a lifelong commitment to the art became engaged in dirty projects, degrading the ideology and bartering their soul. Then the question arises as to why we displayed our nudity. It reminds us how we were tempted to it.
The issue can only be resolved by revealing it to the viewers who appreciated your works of art. Now, I am engaged in that process. It can be described as a repentance of soul rather than as an allegation or accusation.
Q: On page 16 of Punarukthi, you cite an illustration of ‘young snakes’. You mean the children of dirty men (with poisonous blood) and their children with poisonous blood. Is it your attitude? And is it a constructive point of view?
A: According to Buddhism, there are three factors for the conception of a child;
1. Intention on the part of father and mother
2. Mother’s menstrual cycle should be proper
3. Arrival of an intermediary or Gandabba with the above two factors.
Over 75 percent of Buddhists conceive children without fulfilling these criteria. Then, the ‘young snakes’ would conceive.
Added depth
Q: Though the book is written in the spoken idiom, there are some complicated words such as ‘Maagvika’ (The hunter of deer) and Samparkana (connects with the environment). Do you use such words to add depth to the story?
A: I use the medium of literature to tell my story. As far as possible, I tried to stick to tradition as I respect it. Therefore, I thought of simple diction as well as a certain depth.
Q: There are several personalities within one soul at different periods. Though this cannot be seen at a superficial level, it can be observed in one’s physical status as well as changes of mindset. Is it justifiable to serve one with a charge sheet for the sins committed in one’s youth? Though you have a right to tell your story, is it fair to hurt the feelings of the elders who are now weak? Is justice being done in this instance?
A: I am sad that you have misconstrued my answer. I feel that you are on the side of such a generation of elders in the past, present and future. I want the world to pay attention to my story and inform society locally and internationally about the cruelties of domestic violence against women and girls, and initiate a discourse on this in the society that women live in.
Q: Punarukthi is a novel which can be read in one go. It is because of its candidness. Therefore, I think that you should not stop at merely telling your story, but engage in a meaningful literary discussion. Can’t you use your literary skills to contribute to Sinhalese literature?
A: In this era, no one is making a substantial contribution to Sinhalese literature. In most fields, artists have become propagandists. Those who oppose this trend are silent. Most intellectuals are of the view that Punarukthi can be read in one go. I am happy that you have understood that.
Q: Though you say that Punarukthi is your biography, it seems that it is not the complete biography. Do you intend to write another chapter from where you stopped in Punarukthi?
A: Punarukthi is my biography. I hope to publish a couple of important chapters of my biography in future. Among them are university romance, my political intervention in the period of terror, my imprisonment, marriage and my husband’s and my socialist applications in art.
I hope to present readers with the latter part of my story. That is not to insult anyone or to become a fiction writer, but only to tell my story.
Q: It seems there are two groups which try to reject and appreciate your novel without appreciating it in terms of its merits and de-merits. Is this healthy?
A: First and foremost, I appreciate your keen observation. This is the plight in almost all areas. It is children who will suffer when parents quarrel at home. It is the people who have to shoulder the burden of taxes when the government and opposition are in a power struggle.
My request is that all readers should read Punarukthi with an open mind and from a feminist’s perspective.
