T P Rajeevan
Malayalam Literature
From the General to the Particular:
Malayalam Literature Today
Malayalam literature today is a
potpourri of isms with everything in vogue: from fossilized classicism
to nascent postmodernism; from sheer pragmatism to unconditional idealism;
and, from unbecoming opportunism to inflexible romanticism. One can feel
the scent of all.
Turn the pages of any literary magazine.
A genuine reader will naturally get confused about the age he or she lives
in, whether it is the first half of the last century or the present, because
what often precedes or follows a poem written in the style of, say, the
late Ullor Parameswara Iyer, the pedantic poet of Malayalam poetry's formative
period or a story that reminds one of Vengayil Kunhiraman Nayanar, the
first generation short story writer in the language, will be a piece by
an avant-garde writer. So, the road map of Malayalam literature's contemporary
landscape and time scheme is complex and conflicting. In such a scenario
of varied taste and divergent sensibilities, it is problematic to formulate
an all-inclusive opinion about today's Malayalam Literature.
However, before taking account of
the recent trends in literature, there, it seems, is a categorical change
in the social image of a writer that deserves a mention. There was a time
when the people irrespective of their religious, caste and political leanings
cocked an ear at the writers, to know what they said about issues concerning
the society. In those days, the image of a writer the people had in mind
was that he or she would be an enlightened individual, socially committed
and ethically responsible. This was mainly because the writers of those
days, either directly or through their works, were actively involved with
the social and political movements of the period. Some with the National
Movement, inspired by the Gandhian thoughts; and some with the Communist
and the Socialist, triggered by the egalitarian principles. Writing for
those writers -- fiction, poetry, play or essay, whatever the genre is—was
not a career, but an extension of their social activities and the essence
of their being, the Dharma. They were not concerned about the commercial
prospect of their works. What they were essentially intent on was to what
extent their works reflected the life around them in its entirety.
It is this image which was built
upon the mutual faith between writers and their readers that seems to have
got lost with the emergence of Modernism in the 1960s in which literature
became more a play with language and experimentation with techniques than
creatively articulating with the social associations. Consequently, writers
generally withdrew into themselves leading to redefining the use of literature
as a material for academic study rather than for experiential appreciation.
However, at present, there seems
to be a resistance against the surfeit of academicism by giving preference
for reclaiming the legacy of life-oriented writing and restoring public
faith in literature. The works of the writers who came into prominence
in recent years testify to the homecoming of writers. A host of subjects
which until now remained outside the domain of literary representations
like the issues of women, the tragic predicament of the dalits and the
tribes, and the social dilemma of the religious minorities have begun to
figure in fiction, poetry and analytical essays. Equally important is the
new initiatives at exploring the local history, myths, beliefs and idioms.
If modernism with its European roots mainly propounded a sort of universalism
in themes and the language, what demarcates the new writings in Malayalam,
the post-modern, if we can label it so, is its focus on the regional, the
specific, and the particular. This shift in perspective is best exemplified
in the works of K P Ramanunny, Subash Chandran, K. R. Meera, T. D. Ramakrishnan
and E. Santhosh Kumar as novelists and Kelpetta Narayanan, Anitha Thampi,
P. P. Ramachandran, P. Raman and Anawr Ali as poets.
Of all the above, perhaps, the most
noticeable feature of the present-day scenario is the appearance of women
writers whose presence in the main is marked in poetry. Poets like Kanimol,
K. V. Sumithra, and Rosy Thampi write with a first-time energy and a feeling
of freedom unparalleled in the state's literary history which thus far
remained predominantly a 'man's world.' What gives these writers the new
impetus is the advent and spread of the new technologies. In the past,
no ideology, including the ones that openly and vehemently advocated liberation,
proved to be effective in reality, in freeing women from the inhibitions
about the social decorum and the mental clutches of morality. Now, technology
through its gadgets such as cell phones and computers and the vast world
of experience, information, and the exposure to the unknown they open up
through networks provide a space and time where women feel free to express
themselves. In this sense, technology has become a kind of ideology in
today's Malayalam literature.
This article was originally published
in Muse
India |