by Nandula Suseela Devi, translated by Pushpa Achanta
[box]Eminent Telugu writer Nandula Suseela Devi discusses the many interesting trends that currently hold sway in Telugu literature. This has been translated from Telugu by Pushpa Achanta.[/box] [box type = “bio”]Nandula Suseela Devi has been penning short stories, novels and magazine columns in Telugu for over 50 years on themes of gender and the elderly. An active social worker and retired principal cum professor of Analytical Chemistry, she is based in Kakinada, a port-town on Andhra Pradesh’s eastern coast. Apart from winning awards for her teaching and writing, in October 2011, Suseela Devi was conferred the Vayo Shreshta Samman by the Union Ministry of Social Justice and Empowerment in recognition of her continued service to marginalized youth, women and senior citizens. In December 2012, the Potti Sreeramulu Telugu University (Hyderabad) gave her a special recognition for her writing.[/box]Vernacular writing in what is now identified as southern India dates back many centuries and perhaps even a millennium. Apart from literary works in various dialects of Tamil, Telugu, Malayalam and Kannada, some people have probably penned prose or poetry in Tulu and Konkani as they have their base or origins in this part of the country. Of course, there are publications from this region in languages such as English, Urdu, Hindi and Sanskrit which are also spoken or used in other places.
Like its counterparts, Telugu literature has evolved in genre and style thanks to varied social, cultural and political events and influences down the ages. But at present, questions are being raised about the nature and universality of the theme, content and presentation format of some contemporary written works produced in Telugu. All these are apparently contributing to a unique situation in Telugu literature which does not seem to be true of writing coming out in other languages in the southern part of the nation.
The written word – generic or specific?
Over the last century writing in Telugu had moved from a grandhikam ( traditional and formal style) to a simpler one referred to as vyavahaarika bhasha (colloquial language). This had been largely due to the efforts of people like Gidugu Ramamurthy Pantulu, who was one of the pioneers of the principle of utilizing commonly spoken language for his written work from the early 20th century. This became more pronounced after 1947 – regional literature began to carve a place for itself after India attained political independence. Since then, magazines and books have used language that is easy to understand. Therefore, contemporary Telugu books (of any genre) and other literary publications such as journals and magazines are rarely penned in a high flown language.
It is interesting and important to note that there is a key point being raised about current writing in Telugu. This is about the emergence of literature (over the last ten years) in dialects that are specific to certain districts or locations in the state of Andhra Pradesh. Referred to as maandalikam (regionalism), this type of writing tends to bring various social issues, cultural traditions and other local aspects to the forefront and may gain acceptance and popularity with persons who hail from those places. All the same, such work might not be easily understood by people in other areas in the state owing to the distinctions in socio-cultural practices as well as Telugu idioms, linguistic usages et al. For example, Naamini Subrahmanyam Naidu who had been writing in the widely spoken language of Telugu (with or without specific dialectic and other influences), has used the dialect of the Rayalaseema region in his novel Munikannadi Sejhyam. This is one of the books that has contributed to the ongoing debate on whether maandalikam will prevail in the future, or vyavahaarika bhasha.
While some kind of experimentation in the manner and subject of writing is welcome and perhaps necessary, it must transcend regionalism so that everyone understands what is being conveyed. But at present, the argument regarding dialect and area specific writing is being pulled in different directions. One sometimes wonders if this trend is a result of the political situation in the state at present. Or is the rise of such writing helping the struggle in any way? Only time shall decide what will happen.
Varied forms of political writing
Among socially relevant themes, feminism has been an integral part of modern Telugu literature for a few decades. And it is essential to project the opinions, successes and challenges of women and celebrate womanhood. The poems and novels of Popuri Lalitha Kumari (better known as Volga) and stories of Kuppili Padma have been critically acclaimed in contemporary feminist literature in Telugu.
It is crucial for feminist writing to promote the need for equal social, cultural, political and economic status for men and women and not the dominance of a specific gender. In the same manner, when some current writers are in favour of live-in relationships, they should take practical issues into account. Of utmost importance is the responsibility of the rearing of children likely to be part of such set ups. Authors must not disregard a long surviving institution like marriage as it tends to offer emotional security to kids in addition to meeting other requirements.
Writers must remember that any expression based on an individual or group ideology (could be political, social, cultural or another type) must not wean people away from reading narratives on other subjects or genres of literature. Otherwise, there is a possibility of people deciding not to read one or more authors especially if they have rigid opinions. Worse still, such writing can stir up controversies and evoke bans.
The contemporary literary scene in Telugu is also witnessing the publication of works penned by Dalits. Prof. Yenduluri Sudhakar is one of the exponents of this kind of writing. Some Dalit poets are using their verses to revolt against the dominant social paradigm. These and other such writers are trying to represent the situation of Dalits in as realistic a manner as possible.
One of the heartening aspects about writings in Telugu of the present day is that traditionally neglected issues and excluded communities are finding a voice and representation. People like Kaluva Malliaih and Allam Rajaiah are projecting the problems of small farmers, landless labourers and tribals in a nuanced way. These writings discuss the need for such marginalized groups to gain access to their fundamental rights and basic entitlements. The agony of farmers who are losing their land to industrialization is being portrayed poignantly. Authors like Anjana Devi have written insightfully on the plight of marginal farmers and agricultural labourers. She highlights that these people are migrating to urban locales as the land that provides them livelihood is being lost to industrialization and profit making ventures. Devadanam Raju presents instances of certain barely known ground realities like how fields are being converted to fish tanks for cultivating prawns. Attempts are being made to bring these problems into the mainstream through stories in magazines, literary journals and books.
Other genres and new styles
Apart from the multiple new types and identities in current Telugu literature, the influence of literary traditions and characteristics from other countries and global languages is evident. Poets like Ismail have adopted the format of the haiku (typical of Japanese poetry). Around forty years ago, four poets called Digambara Kavulu tried a different style and content but that lasted only a decade. Their creations are also hardly remembered. In contrast, the essence of the verses penned by Sri Sri and Devulapalli Krishna Sastri is timeless even though they were created many years ago.
In the case of plays, hardly any new trends are visible. Further, there are not many playwrights of repute after Bhamidipati Kameswara Rao, Adivishnu and Radhakrishna who wrote nearly 40 years back. Most readers seem to prefer short stories and novels. Detective fiction is disappearing.
To kindle the progress of Telugu writing, the government and educational institutions must organize literary meets with readers, litterateurs and youth, periodically (such events are limited to writers, critics and publishers now). Also, there must be well maintained public libraries having vast and varied collections of books, magazines, journals and other publications. This will encourage existing readers and attract new ones. The availability and access to extensive reading material will create a demand for quality writing. Let us hope that all this will help the advancement of Telugu literature.
Pushpa Achanta is a writer based in Bangalore, India. For the last four years, she has been authoring stories for online (Citizen Matters, Grassroots and World Pulse) and print publications (The Hindu and Deccan Herald) on offbeat personalities and initiatives, local events and activities and successes and challenges of commonly excluded communities. Her writing includes book and literary reviews (for Books and More), culture, heritage, history and social activism through art and theatre.
[facebook]Share[/facebook] [retweet]Tweet[/retweet]
