Teachers after Digital Content

The notion that digital content should be given priority while teaching a poem or story has gripped the high school teachers of Kerala.This is the impression that I could have from a few conversations with some of them.I don’t know whose intelligence has worked behind the creation and propogation of that notion.If a teacher gets satisfied by familiarising his/her students with a number of photographs peripherally related to the the poem or a video and finishes the class after giving a literal explanation of it’s content no doubt the whole affair of teaching will turn to be meaningless.

Kavithayude Kathal

My lataest book Kavithayude Kathal,a collection of 18 articles on poetry is published by Kairali Books, Kannur.Those interested to buy a copy may contact Kairali Books.Ph:0497-2761200. E-mail:kairalibooksknr@gmail.com

I am here

I am here / A path noone keeps in memory/ An animal no hunter wants/ An archaic remain no excavation had brought to light/ I am here/ A word decided to enter no language/ A soul determined to re-enter no body.

COORG NOTES 3

19h May.I and Renjith were on the way to Cheyyandane.After passing Heggala Renjith drove a kilometer or so and parked the car near an estate gate.A few feet away, Inside the estate a middle aged man and woman were cutting some dry and living branches of coffee plants.Renjith asked them what they were doing there.The man replied that they were rounding .The work of cutting some old branches for giving the plant enough space and convenience for allowing it to grow with new vigour without causing any trouble to the nearby plants is known as 'rounding'.The man and his wife were engaged in that work.We asked them what was their wage.'Rs.230 a day'The man replied.Everybody knows that the amount is just enough to pull on meeting only the basic needs. After an hour we got the chance to meet another worker of another estate .He was tipsy,no,he was really fit, but seemed to be aware of many problems related to coffee cultivation.He said, 'Look,the price of coffee varies.Our owners get only a small amount. The middle men and the companies which make coffee powder make money.The estate owners here are not cunning.They don't use pesticides and chemical manures.So the yield is less.But they don't take care.They are interested only in the studies of their chidren and some traditional festivals.With what they get from their ancestral property they can give good education to their chidren.Only that much.But one thing is sure.The coffee here is the best in the world. Oh,really good,great.'

COORG NOTES 2

Kodavas in general are proud of their unique culture.They call themselves ‘Children of Mother Kavery’.Their food habits,dress code,beliefs,rituals and ceremonies are different from those of others living in Kodagu.Outsiders may feel that the community is strong and will continue to be so for many more decades.But it is a sad fact that the number of Kodavas are fast dwindling in Kodagu.Most of the educated youths among Kodavas do not like to continue in their native place.They move to Mysore or Bangalooru for higher studies and seek jobs there itself.Some among them get employed in other cities in the country or get chances to seek their fortune in foreign countries. All of them are almost cut off from the culture nurtured by their parents and ancestors.Many observers fear that after 50 years the traits of original Kodava culture may turn to be a faint memory. Paddy cultivation in Kodagu began to give way to coffee plantations during the British rule.Coorg coffee was recognised as the best in the country .The recognition remains true even now.Coffe estates considerably raised the financial status of many Kodavas and their life rose to very high standards.But the new generation is disintersted in coffee cultivation also.They show haste in leaving Coorg with the hope that a more fashinable,eventful and enjoyable life could be realised in cities.No one can resist or blame them. They have the freedom to act according to their concept of life. But the unpleasent fact that Kodavas are shrinking to a small minority in Kodagu and their culture is slowly vanishing looms over this beautiful land and many feel sorry and helpless. 21/5/2016

COORG NOTES 1

Friends, This is the first note. Here in these notes I inted to share my ‘Coorg experiences’ and some observations based on them which I hope some of you may find interesting. Coorg,the land which enjoys the benevelonce and blessings of nature in abundance has been an irresistible thrill for me for the last four decades. My first visit to Coorg was in 1975.Though it is only 3 hours journey from Thalassery to Coorg my first impression was that I reached a far away land the beauty and attraction of which was boundless.Years passed and from 1985 onwards every year I made 3 or 4 trips to the ‘ Scotland of India’.My latest journey to Coorg was yesterday. This time I went in the company of Renjith Markos whom about 27years back I taught in degree class in Govt.Brennen College. Renjth was in the driver’s seat of his Innova.From Perumbadi, where we reached after a tiresome drive of several kilometres on the winding road ,we turned left and drove towards Heggala and proceeded to Karada and Cheyyandane and returned to Perumbadi via Virajpet.Renjith parked the car at a convenient place and we went to Dr.S.V.Narasimhan’s house. Dr.Narasimhan is a reputed medical practitioner of Virajpet.But we approached him not seeking any medical help.Dr.Narasimhan is the auther of ‘Feathered Jewels of Coorg’ the book that contains authentic descriptions of more than 300 birds in Coorg. Though I had contacted him through email before a few days when quite unexpectedly I along with my friend reached his house,it seemed to me that the doctor was thrilled.We had a matter of fact discussion for about half an hour about the Kodava culture which is unique in many respects. It was with immense pleasure I received ‘Feathered Jewels ’ from the doctor.Thus my latest trip to Coorg also became unforgettable. 20/5/2016

My impressions of the second edition of Cochi- Muziris Biennale

I was disturbed with the impression that the area alloted to painting in the contemporary art world has alarmingly shriken.After the initial shock or confusion I tried to see the exhibition from a different angle and had the impression that a welcome change was taking place as frontiers had begun to show clear signs of disappearance.Another notable change is that many reputed artists have begun to show more interest in the re- reding of history. The politics behind the globalised world had also captured the attention of many.The vision and political awareness of the artist is equally important as his/her mastery over the art,this Biennale gives such a message.Another important thing that I have noticed is that the curater has not enetertained the notion that art works are there just to see and generate aesthetic experience which does not show even the faintest shadows of history,politics and social awareness and nothing should be mentioned about their content. The final impression that the second edition of Cochi- Muziris Biennale left in my mind is that all theories are melting into the air in the world of contemporary art and artists are trnsforming themselves,most probably with much enthusiasm, to catch up with the contemporary world were everything is in a hurry to change and disappear into oblivion. 20/3/2015

Literary Sensibility

I have heard many university professors and ‘ intellectuals’ elaborating on the issue of literary sensibility using a number of high sounding words with which they may be quite familiar. They have no hesitation in repeatedly quoting Jacques Lacan , Foucault, Gilles Deleuze, Félix Guattari and the like.But while giving their opinions about the literary works in Malayalam one can easily see that their sensibility is either false or of very low standard. I think that these people lack the feelers which is absolutely essential to know what all thoughts and feelings are there behind each and every word appearing in a genuine literary work.At the same time I have seen many ordinary village folk who with wonderful precision make exact judgement on latest poems,short stories and novels.Knowledge of literay works acquired in abundance and familiarity with nearly all the terms in literary criticism may not ensure truthful sensibility.It takes birth in a different planet. 27/1/2015

BOOK RELEASE

My latest collection of short stories titled ‘RAMESWARAM’ and a collection of articles on my writings ‘N PRABHAKARAN: KATHA KALAM DARSANAM ‘ were released at a function held at Govt Guest House, Madadayippara on January 26, 2015. N.Sasidharan presided over the function. C.V.Balakrishnan releasd the short story collection by handing over a copy to Sihabudheen Poythumkatavu. The collection of articles was released by poet P.N.Gopikrishnan and G.B.Valsan received the copy.Thaha Madayi, Damodaran Kulappuram and P.K.Bhagyalekshmi also spoke on the occasion. A.V. Pavithran welcomed the audience and P.V.Divakaran rendered vote of thanks. The programme concluded with a flute recital by Pavithran Ezhome. About 150 people attended the function. Many of them later shared their pleasure in being able to attend a simple but warm function.The programme was jointly organised by Kairali Books,Kannur and eripuram.com

Random notes

Yesterday I had an argument with one of my friends.He said that I was anti-development and orthodox. I replied "I am not so orthodox as those who feel no prick of conscience in supporting the criminal deeds of the political parties to which they are attached.To be progressive means to be free.Unless you uphold human diginity and take a strong stance in support of basic human rights there is no meaning in claiming that you are pro-development or progressive".

AN IDEA OF HONEST POLITICS

'Aam Admi Party is not a party, it is an idea of honest politics' said Aravind Khejriwal.His words clearly reminds the stance taken by some theoreticians of Postmodernism.They said that Postmodernism was not an ism but the name given to a particular historical situation.No doubt AAP is a postmodern political party and there is nothing to be ashamed in admitting that.When grand narratives prove to be ineffective people seek new ways and possibilities.AAP,through concrete experiences will develop it's own ideology in due course.And that ideology too should always be changing,because any political philosophy that remains static will grow into an unbearable dead weight and people may get crushed under it.

SMALL BUT STEADY STEPS

A pre-determined political philosophy and economic policy mean only a very little in the present context.Political parties are always enthusiastic in showering high sounding words and usages to explain their philosophy and policies.And when we examine the details of their functioning we see that they maintain several strong ties with the richest strata in the country who own the major share of our national wealth. It is obvious that our political parties will give prime importance for the protection of the interests of this class only.Of course, certain positive changes have taken place after independence in the lives of the common men in the form of better food ,better dress and better dwelling places.But when we look into the realms of social justice and equality we see that millions are still deprived of many basic things.Elaborate speeches,promises and loud declarations will not solve the problems of social disparities.Issue based struggles,legal fights and finally the formulation of new laws ensuring protection for the common men and women from every form of exploitation will only make our hard earned freedom meaningful.I BELIEVE THAT AAP IS TAKING SMALL BUT STEADY STEPS ON THIS ROUTE.

A RELIGIOUS BELIEF OR A TRIBAL BOND

If corruption has to be totally wiped out a strong government committed to that ideal should come into power at the centre. In the current juncture of politics in the country it has become evident that AAP is the only party that would take some firm steps towards eliminating this social evil.The major source of corruption is the unholy nexus between top level politicians and corporates.Just below there is the bureaucracy at all levels which is proficient in the art of ignoring the genuine necessities and demands of common men.From decades of bitter experience the general public in the country has learnt that in situations of dire necessity they could expect only namesake help from politicians that too only if they are ready to stoop to the maximum before the leaders who are in no way better than feudal land lords and this has implanted a belief in them that to save themselves somehow or other they should master the tricks of coming into terms with all the power centres in society. A major section among the educated has given up all hopes in politics.They know that in solving the problems that crop up from their confrontations with the bureaucracy and other antagonistic forces no one would be there to help them.Even then along with the common men they too maintain a somewhat friendly relationship with political parties.It is not due to ideological commitment or something like that.It is almost like a religious belief or a tribal bond. 16/2/2014

AAP :the only ray of hope

Aravind Kejriwal, you have proved that you do’nt belong to that brand of polititicians who make any move to cling to power sacrificing anything that can be termed principle. Now it is the turn of the people.They should prove that they have the moral courage to give mandate to AAP to rule this great country. Majority in the leadership of BJP and Congress are pledged to promote corruption and they are happy to see that the corporates plunder a huge chunk of our national wealth.The left parties though very efficient in making noise are ineffect incapable of doing anything in the way of fighting corruption.Moreover a considerable section of their leadership which has decisive role in the daytoday functioning of the left is least reluctunt to join hands with smugglers and others whose tainted money is abuntedly used in activities that aim at expelling all human values from our public life.In these dark days of Indial politics AAP is the only ray of hope. 15/2/2014

Narrative of Narratives

Friends, As all of us know,the interests and concerns of creative writers and academicians in matters related to all aspects of writing often take diametrically opposite routes. I don’t think it is something that should be or could be prevented. What the writers do through their works is of course highly debatable. But I think a certain amount of certitude is possible regarding the activities taking place in academic circles. In addition to the routine work of transmitting accumulated theoretical and practical knowledge they problematise new aesthetic and ideological arenas created by the latest texts produced in different genres, including literary philosophy and criticism. Students of literature, researchers and teachers are expected to be not only the keen and careful observers of this activity, but contributors too. Unless they do that teaching of literature in higher level will remain stagnant and the production of new tools, techniques and ideological frame works of analysis will be hampered. But for a creative writer a comprehensive knowledge of the forces- political, social, cultural and aesthetic that act behind each and every element of his work is least essential. An attempt to have a thorough understanding of such aspects during the process of writing may even abort the work. From personal experience I can say that no writer would succumb to such foolishness. What does that mean? Does a writer begin his/her work without anything else but a vague idea of the plot? Certainly it is not so. But the fact remains that the majority of events, connecting links and even characters evolve only when he or she enters the world of writing where a different sun sheds it’s light on things which transforms them to realities not perceivable when the normal intellect and analytical power is active. A writer does not willingly create this change. It just happens. He/she can do only a very little in the form of alteration. It is with such an unformidable force that the new visions, ideological standpoints and feelings get realised in the work. But this miracle does’nt take place shattering everything that the writer has knowingly and unknowingly accumulated in different layers of his psyche. The only thing is that during the moments of writing one enters a realm of freedom where many of the preconceived notions about ideology and fears and anxieties related to social approval turn to be inert. Let me elaborate a little from personal experience. My latest story ‘Oru Malayali Branthante Diary’ (The Diary of a Malayali Mad Man) was in fact written without any planning . One day late in the night as I was busily engaged in the writing of a novel on which I have been working for the last 5 to 6 years, a few scenes which have no connection with the novel came to my mind as if from nowhere. One was of a man talking to a goat, another one a rooster in conversation with the same person. I felt quite relaxed since I had a feeling of freeing myself from the work of the novel which demanded a high amount of mental exertion and involvement. I stopped writing the novel and sat in an exalted mood with a strange feeling that something hitherto unknown was going to happen. Suddenly the memory of Gogol’s work ‘The Diary of a Mad Man’ came to my mind. Fortunately a collection of Gogol’s stories was in my bookshelf and after many years I read the story once again. I found no incident in the story having any resemblance with the scenes that appeared in my mind a few minutes ago and this finding was accompanied by a decision to write a story with the title ‘Oru Malayali Bharnthante Diary’. It took only two nights to complete that long story. Even now the whole thing remains a mystery to me. For what did I write such a story? Two or three years back I had thought about writing a story with a monkey as the central character.The idea occured to me as one of my closest friends, a jail warder,once told me the story of a monkey who reached the jail with his master who earned his daily bread by making it perform in the street corners. The monkey developed the habit of enjoying a peg of foreign liquor daily in the night which the jail warders gave him just for their merry making. After two months when his owner got bail the monkey left the jail in tears. This narration now got mingled with the scenes that came to me out of the blue and the energy and confidence I could gather from the rereading of Gogol acted upon them so as to compel me to write something in the form of a story.I began.And characters and anecdotes came in a flow.The story narrates the mental activities and experiences of a mad man and naturally,those who have the confidence of being normal may find most of them totally illogical. But no reader found the story a riddle or mere fantasy.No one said that it was obscure or absurd.That means I and the readers came to an agreement regarding the experiences,ideas and observations the story has to convey. Now leaving aside the personal experiences related to a story I shall come to some facts more relevant in the understanding of the processes of writing and reading. We know that the general reading public in any language are largely lethargic in modifying their literary tastes and sensibility.At the same time they are always suspicious about their ability to make value judgements on creative works.So they depend upon the media and other centres of authority to determine whether a novel or poem is in fact good or bad. As this is the reality any writer attempting to make radical changes in the predominant style of narration has to face in the initial stage the risk of being ignored or ruthlessly criticized.But at the same time if a story bestows the writer with the courage and readiness to make a voyage to the deepest centres of social psyche,even though he resorts to the use of entirely strange narraative style,no critic or the so called judges of sensibility could prevent him/her from reaching the vast majority of readers whose appreciation and approval will not be contaminated by the comments or observations of the self appointed judges of sensibility. I think how the basic tenets of our literay sensibility reached its present state has to be narrated briefly to have an understanding of what takes place in contemporary literature. In the early years fiction writers tried to maintain an order and logical connection to everything they depicted in their novels.Even when they gave fictional form to extremely strange life experiences they wanted no shade of disbelief to fall upon their readers. For example,when Daniel Defoe published Robinson crusoe he concealed the fact that the story was a fiction born out of imagination(The Naive and Sentimental Novelist-Orhan Pamuk). Later it has been generally understood that there is nothing shameful in admitting the decisive role of imagination in fictional writing. This understanding was again overthrown when the literay philosophies of Naturalism and Realism ,which,though with marked differences in detail, stressed that the depiction of life in fiction should be truthful.When Modernists came they argued that art and literature should not be tied to the mundane realities of day today life and their prime function is the search of existential agonies and truths.It took decades to reach to the notion that truth in any art and even in many spheres of social life is a construct.The plurality of truth has been overstressed as modernism began to descend after its short stay on the peaks.Things took yet another different turn quite recently. Discussions on the truthfulness of truth also has become obselete.Now there are fantasies which swallow truth in its fullness leaving no trace of them to be seen.Examples of such works are many and one of the most beautiful among them is The Palm-Wine Drinkard of Amos Tutuola which is a total fantasy that tempts us to decipher the truths of our time from the totally unreal characters and incidents that constitute the novel. In contemporary fiction reality is freely mixed with fantasy and no attempt is made to resolve the contradiction. Both writers and readers are unconcerned about the illogicalities in the plot. It seems in many parts of the world life has reached such a state where reality is only a synonym of fantasy. The most beautiful depiction of this strange but real state of affairs is seen in Haruki Murakami’s ‘Kafka On The Shore’. Another development also is to be noted. In surrealism reality is replaced by dream and fantasy. In magical realism magic elements are made a natural part of reality and as a result reality is raised to new aesthetic heights. But in hyper realism the real in the reality is magnified to such a level that abnormal clarity is acheived. In Moyan’s novels which cannot be classified as hyper realistic in the strict sense such a magnification takes place. Here there is no conscious breaking of the logic of the real.But the vivid descriptions with abundance of minute details at every level raises the narration to a level of sensous experience. Whatever be the narrative technique employed by the contemporary writers they all eloquently argue that in our age truth is not easy to conceive and it exists embracing stark contradictions. Contemporary novelists in general are very much enthusiastic in stating emphatically that no novel aims at presenting a singular vision of anything. Milan kundera’s The Curtain and Orhan Pamuk’s The Naive and the Sentimental Novelist are replete with statements to this effect. Why the writers and intellectuals of our age are so particular in repeating that reality is plural and diverse. I think this stand is the product of a vacum which is created by the total inefficiency of all ideologies in comprehending the new world situation which is marked by the celebration of diversities generated and controlled by the forces whose interests and decisions decide the functioning mode of the market. What we see and feel as multiplicity and diversity are only partially so because as Julian Stallabrass put it ‘they all encounter the sanctioning of the market place.’ (Contemporary Art: A Very Short Introduction) Before concluding let me say a few words on the ideas and trends that determine the textual politics of narratives in Malayalam. When the spirit of social renaissance joined the streams of freedom struggle and the communist movement , for about 15 years i.e during the period from the end of 1930s till the early years of 1950s the concept about the function of literature firmly rooted in its social responsibilities made its presence strongly felt in Malayalam literature. Realistic depiction of life in the lower strata of society was generally approved as the duty of writers, especially fiction writers and as a result we got some of the all time best stories and novels in the language from writers like Basheer,Thakazhi, Kesavadev, Ponkunnam Varkey and S.K.Pottekkattu. Things began to change slowly and the agonies of lone individuals became the pivotal element of fiction in the next stage. Later during the period of high modernism the presence of ontological probes got an upper hand over social and political issues. The feudal and upper caste literary sensibility though with certain reservations approved the new aesthetic parameters since questions regarding social inequalities and other issues were considered irrelevant and insignificant in the new literature. The glorious period of Modernism ended by the beginning of 80s but the concept about the social responsibility of Writers couldn’t stage a come back.In the next decade the politics and concrete experiences of globalisation began to determine the essence of realities in public life as well as the private life of individuals and things began to take a different turn.As no political ideology is able to make its presence strongly felt in social life and as market has established an undisputable sway over all walks of life no section of writers consider that they should declare their support or sympathy to any ideology.All ideological positions are overpowered by market when they enter the realm of practice. As the human race reach this juncture of history all grand narratives are nullified by the one and only grand narrative i.e market.The market for its survival takes every attempt to ensure the free flow of money and create an aura of freedom and only on the occassions of sharp economic recession people awake to the shocking contradictions in society. Even then no one can move away from the magnetic fields which has been alrady actvated.New goods,new temptations,new necessities,new hopes and new anxieties are continuosly created.The world of sensations conquer the terrains of intellect and the needs of soul are brought to the minimum.‘Only a very little is enough for the body but for the survival of humam essence everything in the world is not enough’ sang vailoppilly.But today the reverse is happening.Human essence is made a feeble shadow of the greed the market produces in high acceleration. Though writers in general are aware of this dilemma most of them do not attach much importance to these issues. They behave as if they wont’ be affected by anything that does not directly interfere with thier work.They resort to any form of writing which will ensure their commercial success and the approval of the so called power centres in literature.An idea that has begun to be widely circutated among young writers and artists is that individual talent and creativity are nothing if the writer or artist is unwilling to join hands with the new culture of transnational capitalism.In the discussions being held in connection with Cochin Muziris Biennele this is the argument raised most loudly and emphatically. New creative writing courses instiituted in variuos universities in India and abroad aim at giving trainig to those who want to enter the world of writing with a high spirit of enterpreneurship. For them creativity means the mastering of certain writing techniques and a thorough knowledge of the ingrediants of powerful narrative. A larege number of novels in contemporary English Literature are the products of this new writing culture. Literature has lost confidence in acting as a tool of social change. The ideological stand it takes is often wavering. Declaring support and allegiance to the struggles of the poorest in the society is considered totally outmoded. If you want to get involved in such concerns do it as a social worker,if possible a funded social worker that is the attitude of society.Then what is left there for the writers and artists to do?I think a genuine writer who is truthful to his vocation should fearlessly challenge or ignore the new culture of copetitive commercialism and create genuine narratives of contemporary life,contemplating on the limits and possibilities of every style of narration that comes across his mind.He or She should bear all the frictions and tensions of continuously questioning and disbelieving oneself. He should not celeberate as ‘the exercise of freedom all that is forced on him’(Julian Stallbrass). He should decide for himself the nature and content of his freedom. It is better to be a living organism in darkness generating a ray of light than a dazzling mirror reflecting every celeberation in the market with the misconception that it is doing so at its own will. Thank you;Thank you all. (Inaugural address made on 26/2/2013 at ‘Narrative of Narratives’ national seminar organised by the dept.of English,Sree Sankaracharya University,Kalady.)

Random Notes

We all know that that no agency,organization or establishment can create a genuine writer or artist.Then why don't we take a negative stand towards the camps,workshops discussions and the like conducted by the Sahitya Academy ,university departments or some socities or groups.There is every possibility for a healthy diffusion of ideas and fresh enquiries to take place in such places which may help writers,artists ,readers and viewers to continue their work with a new vigour.Nothing happens in the barrenness of mere repetitions.Our ideas and notions should be repeatedly challenged and we should be forced to redefine and reconstruct our inner world frquently. But usually what happens in the University seminars and other formal discussions?Our so called scholars present their papers with a vulgar self confidence and arrogance which they hope will cover their gross inability to produce even a sigle fresh idea or thought of their own.The net result of such seminars is a heap of dead words and lifeless arguments.

Shadow Play

No one has the right to instruct poets on matters of content or style. One writes poetry only because some incident or experience temts or compels him/her to choose the medium of poetry for expression.On the other hand when poetry becomes a slave to familiar , predictable stylisations it generates only boredom.If poets indulge in the exercise of writing poetry keeping in mind certain predtermined notions about the content fit for poetry and if they are led by considerations of eternal value and beauty it looses the enrgy, vigour and beauty of genuine writing and the result is a tiresome shadow play.

ANONYMOUS LETTER

Using all the swear words I know,I wrote an anonymous letter to Aravindan.All the sins he committed were listed in chronological order.Four days later,I got an anonymous letter,which said: “Dont worry,what you did is not that sinful.” (Trans:Fathima Mayan)

Random notes

What are the net results of the educational reforms being implemented in Kerala and elsewhere during the last 15 years? From my personal observations I would say that students in general have become extrovert and in a sense bold.They don’t have any inhibition in presenting their opinions and notions about almost anything under the sun.But on the other side there are some pitiable aspects.They are not at all ashamed to be satisfied with whatever little knowledge they have about a topic and to pretend as if their understanding is full and perfect.Their interests and attitudes have become quite peripheral and pretentious.The educational reforms ,it has become obvious, aim at creating a generation capable of floating freely without any serious concern about anything in a world controlled by the forces of free market.
The subversive changes taking place in the field of education have affected quite adversely all walks of social life in Kerala.The disbelief and tension swelling up in social psyche have made genuinely serious cultural activities and communication impossible. Except a very few NGOs no one is there to take up the burning issues in social life.NGOs have their own limitations.They are often controlled by unfair agencies whose real interests are always kept hidden.In Kerala which is considered a strong hold of left politics to be apolitical has become the ideal of a considerably large section of the people .

...therefore I am

So far I was not able to stick on to any single medium in literature.My concept of literature and my ideas regarding it’s function also change quite often.On some occasions I took the stand that social and political content of a work of art is more important than anything else.This feeling or thought does not remain for long to grow into a conviction.I change.I will begin to think that form is far more important.Form itself is the meaning and message of work of art.The novelty of form and rhythm that one is able to realize in a work of art should be the criterion to judge it since it is the soul of the aesthetic experience that the work conveys to a reader.But I won’t stick to this stand for a considerably long time.Content,plot and the unpredictable possibilities that unfold in a story are the real thing,I will begin to think.And I may go a step further and declare:
What is there in a work of art if history does'nt make a reader feel it’s presence in it.