Jaya Posts

“Interrogating My Chandal Life: An Autobiography of a Dalit” by Manoranjan Byapari

Manoranjan Byapari’s Interrogating My Chandal Life: An Autobiography of a Dalit  is about the author documenting his life from life in East Pakistan to moving to India. When he arrived in India with his family he lived in Shiromanipur refugee camp. They try and make a life for themselves in Bengal but they lived in abject poverty and unable to feed themselves regularly. They were also at a social disadvantage for being Dalits. To escape these straitened circumstances Manoranjan Byapari ran away from home as a teenager in search of work. He got caught in the 1970s Naxalite movement in Calcutta. He was imprisoned. It was while in prison as a twenty four year old that he learned to how to read and write.

So from 1977 till 1981, my time was spent reading Katha literatures, folk literatures, translated literatures, travelogues, religious books. Some praised my dedication to books, some taunted me. I ‘bypassed’ all. None of their words many impact on me. 

Once released he still had to earn his bread and butter, so began pulling a rickshaw. He would inevitably carry a book to read while waiting for passengers. One day he was parked outside the college where Mahashweta Devi taught. She emerged and sought a rickshaw and it happened to be Manoranjan Byapari. He had to quickly put aside the book he was reading — Agnigarba ( The Fire Womb).

A collection of short stories where every character was a known and familiar face to me. Every story had at its centre a protagonist who was a labouring man, who was a representative of the protest of that class, who was unwilling to accept defeat and who fought till death, then rose again to continue the fight. I had a particular affection for this author. Having been once accidentally drawn into the Naxalite movement, I had spent much time with them and heard the story of the martyred Brati, a character in her novel Hajar Chaurasir Ma ( The Mother of 1084). This book had endeared the writer to the Naxalites, who spoke of her as a maternal figure to them. Engrossed in reading, I suddenly awoke to the fact that my turn at the rickshaw line had come. The familiar figure of a teacher whom we all knew by sight stepped out of the college and approached us. 

As luck would have it, the passenger was none other than Mahashweta Devi. Manoranjan Byapari still had not a clue but it was during the course of the journey that he asked her the meaning of a word he had read in the book — jijibisha ( the will to live) and struck up a conversation. Mahashweta Devi was impressed at how he had taught himself to read while incarcerated in Presidency Jail under the tutelage of mastermashai. She asked him to contribute to her journal “where working people like you write”. Just as she was leaving she gave him her address, to the shocked amazement of Manoranjan Byapari. He could not believe it that his passenger was the famous writer Mahashweta Devi.

The rest they say is history. Mahashweta Devi gave him his writing break. Since then he has published many novels, short stories, essays, and his autobiography, of two volumes, the first volume which has been translated and published by Sage-Samya. He has won the Anaya Samman given by the television channel 24 Ghanta, 2013, and the Suprabha Majumdar Smarak Puraskar of the Bangla Akademi of West Bengali in 2014.

In January 2018 he was invited to attend the World Book Fair (WBF) held in New Delhi and the Jaipur Literature Festival. At the WBF he was in conversation with Sanjeev Chandan*, journalist, author and social activist, and Anita Bharti**, teacher, writer and Dalit rights activist.

At the Jaipur Literature Festival 2018, Manoranjan Byapari was on a panel “Dr. Ambedkar and his Legacy” along with Chintan Chandrachud, Christophe Jaffrelot, and Sukhadeo Thorat. They were in conversation with Pragya Tiwari.

According to the translator, Sipra Mukherjee,

Byapari’s prose is urban and modern. Translating the language used by Byapari, therefore, did nto pose the many problems that are often faced when translating Dalit literature, where the language embodies its marginalization palpably in the earthiness of its dialect which cannot be kept in translation, which tends to be standard English. His prose is often driven more by action than by emotions. . . .

The English translation is shorter than 25,000-30,000 words than the original Bengali version but this has been done with the concurrence of the writer.

Now Manoranjan Byapari is so well-known as a writer that he shares an anecdote that happened in Hyderabad.

Once on an invitation I journeyed to the University of Hyderabad. I boarded an autorickshaw from the station, bound for the University Guest House. The driver of the auto was educated and well-informed. Upon hearing that I was from Calcutta, he wanted to know if I had heard of this writer from my city who drives a rickshaw, has never been to school, but who writes books. 

Read an extract from the autobiography on making a bomb.

Interrogating my Chandal Life will undoubtedly be a significant book in the landscape of Dalit literature. This despite the storytelling being written with a flourish that can prove to be fairly distracting with its verbosity. It is much like the writer himself who when speaking on a public forum is full of wisdom and fascinating insights but ever the performer— perhaps some of it has seeped into the written word too. Nevertheless read this seminal book for the history of Bengal and the plight of dalits it charts through Manoranjan Byapari’s testimony.

Update ( 3 Sept 2018): Manoranjan Byapari has signed a multi-book deal with Westland, an Amazon company. The figures have not been revealed but one of the translators working on the project is eminent Bengali translator Arunava Sinha. ( “Former rickshaw-puller inks big book deal“, TOI, 2 Sept 2018)

Manoranjan Byapari Interrogating my Chandal Life: An Autobiography of a Dalit ( Translated by Sipra Mukherjee) SAGE Samya, New Delhi, 2018. Pb. pp. Rs 550 

 

*Sanjeev Chandan is Editor of the leading feminist magazine Streekaal and founder of Marginalised Publications, an independent publisher that publishes Dalit-Bahujan literature and academic works on cultural and political issues. Formerly, Mr. Chandan was Hindi Editor at Forward Press, a bilingual magazine that looks at issues and interests from a Dalit-Bahujan perspective. His collection of stories, 546veen Seat ke Stree, was published recently.

**Anita Bharti is an author, a teacher and a well-known critic of Dalit literature. One of her important contributions is the book Samkaleen Nariwaad aur Dalit Stree ka Pratirodh, which received the ‘Savitribai Phule Vaichariki Samman’ award from Streekaal magazine in 2016. Another important work is the collection of poetry that she has edited – Yathastithi se Takraate Hue Dalit Stree Jeewan se Judi Kavitaayein. Ms. Bharti has been honoured with several awards, which include the Indira Gandhi Shikshak Samman and Delhi Rajya Shikshak Samman.

 

1 May 2018 

“Sight” by Jessie Greengrass

…the framing of a  radical scientific discovery in ordinary language, the ability to impart understanding without first having to construct a language in which to do so. Rontgen’s description of his work comes like the unravelling of a magician’s illusion which, explained quickens rather than diminishing, the understanding of its working conferring the illusion of complicity …

Jessie Greengrass’s debut novel Sight is about an unnamed narrator pondering whether to have a child or not.

I wanted a child fiercely but couldn’t imagine myself pregnant, or a mother, seeing only how I was now or how I thought I was: singular, centreless, afraid. 

It is a long reflection by the narrator split into three parts like a play with a short interlude.  Every section itself is structured with the long self-reflecting passages about by the narrator interspersed with interludes with factual historical content. The first section involves the Lumière brothers, Auguste and Louis, and Wilhelm Conrad Röntgen’s discovery of X-rays; the second section is about psycho analyst Sigmud Freud and the final section is about Scottish surgeon John Hunter who was exceptionally well known for his knowledge of the anatomy, both human and animal. In fact John Hunter’s fine collection of over 14,000 specimens was acquired by the British government and even today exists at the Hunterian Museum at the Royal College of Surgeons in London. Interestingly every section while the narrator reflects it corresponds with a particular moment in her life. The first section while she tussles whether to get pregnant or not she also contemplates upon Röntgen’s discovery of X-rays whose experiments in the laboratory resulted in a big impact on medical science and society too. It was the intensely subjective moment that led to greater objectivity:

For seven weeks and three days Röntgen existed in a private world transformed for him and him alone, and perhaps this too was a part of his later bitterness: that despite this experience of revelation, the conferral on him of a scientific grace, afterward nothing was different at all, and although he had seen through metal and seen through flesh to what was hidden, and although he had known, or thought that he had known, its nature, what had been left afterwards was only so much quibbling on the bill. 

Similarly mothering her firstborn, remembering the death of her mother due to cancer while the narrator herself was in her early twenties leaving her an orphan,  sharing her fears with her partner Johannes whether to have the second baby or not, while wondering if she is capable of the responsibility — these are intensely personal experiences for any woman more so for the narrator. Pregnancy is a very female experience that is repeated number of times over with every mother-to-be and yet remains an intensely intimate and subjective experience. Towards the end of this section she realises she has “outdistanced her anxiety” and wants the second child.

In the second section the narrator introduces her grandmother, Doctor K, and Sigmund Freud — both psychoanalysts.  Her childhood memories of spending holidays with her grandmother who worked as a professional psychoanalyst while caring for her granddaughter and on those rare occasions for her own daughter. The narrator recalls her mother telling her how when she was a five year old girl her mother, Doctor K, would insist upon analyzing her dreams. Result was the little girl stopped dreaming! It is a jumble of memories shared by the narrator that are at once intimate and intertwined and yet involving distinct individuals and personalities, much as in the way the network of blood vessels connect the unborn baby in the womb to its mother. Similarly Sigmund Freud’s biography and analysis of his patients including daughter Anne are interspersed with that of the personal narrative.

…the past is as prosaic as the future and the facts about it only so much stuff. To pick through dusty boxes, to sift through memories which fray and tear like ageing paper in an effort to find out who we are, is to avoid the responsibility of choice, since when it comes to it we have only ourselves, now, and the ever-narrowing come of what we might enact. Growing up, I said, is a solitary process of disentanglement from those who made us and the reality of it cannot be avoided but only, perhaps, deferred … . 

Plate VI of “The Anatomy of the Human Gravid Uterus” (1774) by William Hunter, engraving by Jan van Rymsdyk.

In the third section the narrator is pregnant and waiting to give birth so a lot of time is spent in hospital waiting rooms awaiting tests. She intersperses her reflections with that of the eighteenth century Scottish surgeon John Hunter who was also known for his phenomenal collection of specimens. He was very keen to know about anatomies and would pay gravediggers to get him bodies from fresh graves so that he could dissect them and study the anatomy.  He worked closely with his brother William Hunter who had in fact introduced him to the medical sciences. The dissections were conducted in the basement of William Hunter’s Convent Garden house where the brothers were inevitably accompanied by the artist Jan van Rymsdyk who rapidly sketched as evident in the illustration on the right.

The Oxford English Dictionary definition of “Sight n. the faculty or power of seeing”. Jessie Greengrass studied philosophy in Cambridge and London. Her novel Sight is a literary example of psycho-geography — a combination of personal reminiscences and factual historical content. It is also an attempt to get at a further truth which is about how we see one another and we see ourselves especially the female experience which is most often taken away from human experience. ( Interview with BBC Radio 4, February 2018) It is a constantly evolving process of the individual’s subjectivity vs objectivity. It was first discussed in a similar meditative fashion by the Romantic poet Samuel Taylor Coleridge in Biographia Literaria. It is unsurprising given that Coleridge  too like Jessie Greengrass was inspired by John Hunter’s work and its focus on the distinctions between life and matter. As Jessie Greengrass remarks in her BBC interview “having a subjective self is something which allows us privacy but also separates us even from the people we are closest to” and this is the angle she explores as a novelist in her powerful debut Sight.

Sight has been shortlisted for the Women’s Prize for Fiction 2018 and the winner will be announced on 6 June 2018. This will be a close finish since the other contenders for the prize are equally strong and experienced women writers.
Jessie Greengrass Sight John Murray ( Publishers), an Hachette UK Company, Edinburgh, 2018. Pb. pp. 
30 April 2018 
* All pictures are off the Internet.

Lidia Yuknavitch “The Misfit’s Manifesto”

No one is perfect. No one got where they are without occasionally falling to pieces. Maybe it’s time we admit that we need all of us for any of us to make it. 

Lidia Yuknavitch is a successful author now. Well-respected in literary circles. But there was a time in her past when she was a misfit.

I’d say I’m a misfit partly because of the things that happened to me, and partly from things that come from the inside out.

Hardwiring, if you will. 

She had had a tough life. Stormy childhood with an abusive father and bickering parents. Two bad marriages of her own. My her own admission her life took a nosedive when her daughter was a stillborn. She began substance abuse. Rehab. Was arrested. Incarcerated. Slowly and steadily she put her life back together again.

Her dream of becoming a writer slowly began to come true when she was in her early thirties. Lidia sent a short story “The Chronology of Water” about how her daughter’s death nearly killed her and saving her father from drowning even though he had abused her sister and her. She sent the story for admission to an MFA course at Columbia University, to the hiring committee at a tenure-track teaching position in writing at San Diego State University; to Literary Arts in Oregon as a writing sample for a grant; and to Poets & Writers as a writing sample for the Maureen Egen Writers Exchange Award. Lidia struck gold. She won all four. She had to reject the MFA as a job is what she needed.

I swallowed the desire to name myself as a writer who would go to Columbia. Prestige was not my name. Get a job was my name. 

The Poets & Writers Award gave her the opportunity to go to NYC to meet editors and writers. Lidia chose to meet Carole Maso, Peggy Phelan, Lynne Tillman, and Eurydice.

These now over fifty-year-old women writers were so intelligent, so creative, so gorgeous and present in their own minds and bodies. …These women were so alive in their minds. Maybe it sounds weird but I’d never experienced that before. 

Since then she has gone on to win awards and publish many notable books of her own such as The Small Backs of Children and The Book of Joan. She returned to school and studied for her PhD. She began teaching once more. She also got married once more and has a son.

It was almost as if my life was moving to that foreign word, successful.

Lidia Yuknavitch gave a TED Talk in February 2016 on “The Beauty of Being a Misfit”. It was later converted into a book, published by Simon & Schuster — The Misfit’s Manifesto. It includes testimonies of other people whom society would consider as “misfits” but Lidia discovers live life on the edge but in their own wacky way are fulfilling and rewarding.

A conversation between Kit De Waal and Lidia Yuknavitch  would be promising. There are so many points of common interest apart from which they too come across as women who are “so alive in their minds”.

The Misfit’s Manifesto is an absorbing book, at times terrifying for the experiences Lidia Yuknavitch shares, while filled with hope and  optimism.

Lidia Yuknavitch The Misfit’s Manifesto  TEDBooks, Simon & Schuster UK, London, 2017. Hb. pp. 150 Rs 350 

29 April 2018 

 

 

 

Patti Smith “Devotion”

In 2016 Patti Smith was invited to deliver the Windham-Campbell Lecture, delivered annually to commemorate the awarding of the Donald Windham-Sandy M. Campbell Literature Prizes at Yale University. It has now been published in an expanded form, Devotion, by Yale University Press with an essay on writing, an unsettling short story ( which in a way illustrates her musings of the opening essay) and finally, her lecture. Here is an extract: 

****

Why is one compelled to write? To set oneself apart, cocooned, rapt in solitude, despite the wants of others. Virginia Woolf had her room. Proust his shuttered windows. Marguerite Duras her muted house. Dylan Thomas his modest shed. All seeking an emptiness to imbue with words. the words that will penetrate virgin territory, crack unclaimed combinations, articulate the infinite. The words that formed LolitaThe Lover, Our Lady of the Flowers.

There are stacks of notebooks that speak of years of aborted efforts, deflated euphoria, a relentless pacing of the boards. We must write, engaging in a myriad of struggles, as if breaking in a willful foal. We must write, but not without consistent effort and a measure of sacrifice: to channel the future, to revisit childhood, and to rein in the follies and horrors of the imagination for a pulsating race of readers.

Things are slow moving. There is a pencil stub in my pocket.

What is the task? To compose a work that communicates on several levels, as in a parable, devoid of the stain of cleverness.

What is the dream? To write something fine, that would be better than I am, and that would justify my trials and indiscretions. To offer proof, through a scramble of words, that God exists.

Why do I write? My finger, as a stylus, traces the question in the blank air.  A familiar riddle posed since youth, withdrawing from play, comrades and the valley of love, girded with words, a beat outside.

Why do we write? A chorus erupts.

Because we cannot simply love.

Patti Smith Devotion: The 2016 Windham-Campbell Lecture Yale University Press, New Haven, 2017. Hb. pp.

28 April 2018 

Kit de Waal’s “The Trick to Time”

‘One day,’ he says, and his voice is kind so Mona knows she isn’t getting a telling-off, ‘one day, you will want these hours back, my girl. You will wonder how you lost them and you will want to get them back. There’s a trick to time.’

‘What’s the trick, Dadda?’

He likes to explain things so Mona expects a good long answer that might delay them getting back home.

‘You can make it expand or you can make it contract. Make it shorter or make it longer,’ he says. 

Kit de Waal’s second novel The Trick to Time is about a young Irish girl Desdemona usually called Mona who leaves Ireland to work in Birmingham. It is the 1970s. On her first night in the city she meets William, an Irish lad, and soon after a whirlwind romance they are married. She is not even twenty. Mona had left her father and the tiny Irish village she grew up in to get a job. While in Birmingham she enrolled herself in evening classes to be a seamstress. William and she are extraordinarily happy with each other till a terrible tragedy shatters their world. It is compounded by the fact that William is caught in the ghastly IRA bombings that happened in Birmingham on 21 November 1974.

When the novel opens Mona, now nearly sixty, is an established doll-maker, mostly heirloom pieces, an exquisite seamstress of dolls clothes and sells beautiful wooden dolls, some fitted out in vintage wear. Dresses she painstakingly puts together by scouring thrift shops and flea markets for fabric and pieces of clothing which if need be she carefully pulls apart to recreate the clothes for her dolls. She relies upon a carpenter to make her wooden dolls. Ever so often her door will ring and a lone woman will walk in with the words “Gayle sent me.” A very peaceful air envelops the two women, strangers, while they converse engulfing the “howling grief” of the customer but Mona with immense tenderness seeks the relevant information about weight and fixes the next appointment. It all happens civilly without adding to the trauma of the grieving mother.

The Trick to Time is an extraordinary novel suffused with extreme tenderness, gentleness, understanding and kindness even though there is pain and misery. Its focus is on living life joyfully, considering each moment as blessed,  without ignoring or forgetting that which hurts, is what comes through beautifully particularly in the poised manner in which Mona conducts herself. While being an efficient seamstress who sells exquisite dolls, she quietly helps keening mothers deal with the loss of their newborns, sometimes many years after the birth of the stillborn. Her healing sessions are unusual. She requests the carpenter to carve and polish a block of wood equal in weight to that of the grieving mother’s lost newborn. Then tucking the woman into a comfortable chair holding the piece of wood draped in a garment belonging to the beloved child, Mona weaves a magnificently hypnotic tale involving shared moments between mother and child through adulthood.  The pained grief the reader feels too in these private moments are movingly created by the writer and yet there is an abundance of kindness and sympathy present.

The Trick to Time is definitely literary fiction that is recognizably working class in its themes, language, characters and stories. For instance it is not only a history of the changes in maternal care and attitude towards stillborn from the gruesomely cold attitude of the 1970s nurses to a more caring and understanding attitude including of setting up support groups for mothers in today’s day and age. The novel is a sensitive study of not only how women are affected but also men as evident in William’s reaction to the loss of his daughter. Kit de Waal also talks about the working class thereby subverting that which is even today considered acceptable in contemporary literary fiction — this at a time when the conversations about inclusive or diversity in publishing are increasing rapidly. In a fabulous talk “Where are all the working class writers?” on BBC 4 Radio broadcast on 23 Nov 2017 she said  “The more we reinforce the stereotypes of who writes and who reads, the more the notion of exclusivity is reinforced. It takes balls to gatecrash a party.” She reiterates talking about class is still an awkward conversation to have. In an interview with Boundless she was asked about Lionel Shriver’s ( now infamous remark) about “cultural appropriation” and if a writer should only write from their point of view; to which Kit de Waal said she concurred with Lionel Shriver but added wisely: “I have written to some extent about certain experiences I have had or have been close to. I would certainly write about experiences I haven’t had – I probably will do in future novels – provided I was certain of three things – and this is especially true where the experience was a sensitive subject (as is race, racism, adoption, mental health and stillbirth, as in my first two novels) a) that I was going to say something new or different to what had already been said on the subject, b) that I had done as much research as I possibly could including talking to people who had had the experience or were from the community, reading, watching films and so forth until I was immersed in that experience, certain of my facts, had paid the subject sufficient attention and had taken no shortcuts, c) that if someone criticised me for writing about that subject or experience I would be able to take that criticism.All of this is a question of respect. Lionel Shriver is completely right that we can write about whatever we want. Whether or not we are entitled to write whatever we want is an entirely different matter. Entitlement is a dangerous attitude, bringing with it notions of privilege, possession and exclusion. We only own our story and then only from our point of view – which one of us agrees with our siblings about every detail of our childhood? Stray from our narrow experience and we trespass on someone else’s, potentially. Yes, write whatever you want but interrogate yourself as to what you bring that is different, that is new, that is unique and whether or not you are best placed to be the one to tell that story. And always guard against arrogance and disrespect.”

Although Kit de Waal reiterates in an essay in the Guardian “…without talking about the upper- or middle-class white men and women who wrote the classics and some of the masterpieces of literature. I love their writing, respect – no, envy – their skill and craft, and cherish those books that tell us so much about the world and what it is to be human. These are works that, as Italo Calvino says, haven’t finished saying what they have to say. This isn’t a plea to take them off the shelf. It isn’t a case of us or them; it’s a case of us and them. Shove all those other books up a bit and make room on the shelf for stories from all of the communities that make up the working class. We do literature and ourselves a disservice if we don’t.” ( “Kit de Waal: ‘Make room for working class writers’ ” 10 Feb 2018, The Guardian). In fact she crowdfunded Common People: An Anthology of Working Class Writers — a collection of essays, poems and pieces of personal memoir, bringing together sixteen well-known writers from working class backgrounds.

Kit de Waal has this incredible talent of making visible particularly that of female experience which is usually not seen in mainstream literary fiction especially when it comes to working class fiction. She is the 21C version of Charles Dickens. With her memorable and absolutely stupendous debut novel My Name is Leon she focused upon growing up as a child in early 1980s in a working class neighbourhood and related issues of fostering, childcare, angry children and looking out for one another. Kit de Waal has worked in family and criminal law for many years, has been a magistrate and written training manuals on fostering and adoption; she also grew up with a mother who fostered children. In The Trick to Time she makes visible tiny but crucial details such as Mona looking after the carpenter, her kindness extending itself to warmly embrace the grieving mothers without letting on that she herself would like to keen for her stillborn child, or simply the descriptions of her living alone at home peacefully and pottering. These tiny actions are liberating as most often than not women’s actions are either dictated or circumscribed by a man in their lives, who loves to colonise their time. This is evident in how the German Karl tries to woo Mona largely by disrupting her peaceful schedule. All these details that would otherwise be considered too pedantic for literary fiction are in an ever so gentle manner brought into focus.

With the generous publishing advance the author received for her first novel she set up the Kit de Waal Creative Writing Fellowship to help improve working-class representation in the arts. Launched in October 2016 at Birkbeck’s Department of English and Humanities, the scholarship provides a fully funded place for one student to study on the Birkbeck Creative Writing MA, and also includes a generous travel bursary to allow the student to travel into London for classes and Waterstones’ vouchers to allow the student to buy books on the reading list. The inaugural scholarship was awarded to former Birmingham poet laureate Stephen Morrison-Burke.

The Trick to Time was on the longlist of the Women’s Prize 2018 and it is a pity it never made it to the shortlist. Nevertheless it is a book meant to be read and shared. It will be a sleeper hit for it is bound to be read by book clubs worldwide as well has great potential of being adapted for cable television or cinemas. The Trick to Time is a book that will endear itself to many as it justifiably should!

Read it.

Kit de Waal The Trick To Time Viking, an imprint of Penguin Books, London, UK, 2018. Pb. pp.260 

27 April 2018 

 

 

 

 

Appointment of Judges to the Supreme Court of India: Transparency, Accountability, and Independence

On the day when there is furore in India about the appointment of Indu Malhotra to the Supreme Court of India and not issuing a similar warrant of appointment for Justice Joseph , Oxford University Press of India has released Appointment of Judges to the Supreme Court of India: Transparency, Accountability, and Independence ( Eds. Arghya Sengupta and Ritwika Sharma) .

According to the AIS circulated it says:

The National Judicial Appointments Commission (NJAC) judgment, on the appointment of judges to the Supreme Court, has been the subject of a deeply polarized debate in the public sphere and academia.

This volume analyses the NJAC judgment, and provides a rich context to it, in terms of philosophical, comparative, and constitutional issues that underpin it. The work traces the history of judicial appointments in India; examines the constitutional principles behind selecting judges and their application in the NJAC judgment; and comparatively looks at the judicial appointments process in six select countries—United Kingdom, South Africa, Canada, Pakistan, Sri Lanka, and Nepal—enquiring into what makes a good judge and an effective appointments process.

With wide-ranging essays by leading lawyers, political scientists, and academics from India and abroad, the volume is a deep dive into the constitutional concepts of judicial independence and separation of powers as discussed in the NJAC judgment.

26 April 2018 

Lindsey Fitzharris “The Butchering Art”

Lister came to the vital realization that he couldn’t prevent a wound from having contact with germs in the atmosphere. So he turned his attention to finding a means of destroying microorganisms within the wound itself, before infection could set in. Pasteur had conducted a number of experiments that demonstrated that germs could be destroyed in three ways: by heat, by filtration, or by antiseptics. Lister ruled out the first two because neither were applicable to the treatment of wounds. Instead, he focused on finding the most effective antiseptic for killing germs without causing injury: When I read Pasteur’s article, I said to myself: just as we can destroy lice on the nit-filled head of a child by applying a poison that causes a lesion to the scalp, so I believe that we can apply to a patient’s wounds toxic products that will destroy the bacteria without harming the soft parts of this tissue.” 

British surgeon Joseph Lister ( 5 April 1827 – 10 February 1912) was a pioneer of antiseptic surgery. He was born in a devout Quaker family. Simplicity was the Quaker way of life. Lister was not allowed to hunt, participate in sports, or attend the theater. “Life was a gift to be employed in honoring God and helping one’s neighbor, not in the pursuit of frivolities. Because of this, many Quakers turned to scientific endeavors, one of the few past times allowed by their faith.” His father, Joseph Jackson Lister, managed the centuries old family business of being wine merchants  but it was his discovery of the achromatic lens to eliminate the distracting halo in the compound microscope that earned him worldwide fame. This lens was showcased in 1830. His son, Joseph Lister, grew up in such a home where the spirit of inquiry was encouraged as was exploring miniature worlds with the microscope.

The very first time he looked down the barrel of a microscope, Lister marveled at the intricate world that had previously been hidden from his sight. He delighted in the fact that the objects he could observe under the magnifying lens were seemingly infinite. Once, he plucked a shrimp from the sea and watched in awe at “the heart beating very rapidly” and “the aorta pulsating.” He noticed how the blood slowly circulated through the surface of the limbs and over the back of the heart as the creature wriggled under his gaze. 

Yet Lister’s decision to become a surgeon was met with surprise by his family as it was a job that involved physically intervening in God’s handiwork.

And surgery, in particular, carried with a certain social stigma even for those outside the Quaker community. The surgeon was very much viewed as a manual laborer who used his hands to make his living, much like a key cutter or plumber of today. Nothing better demonstrated the inferiority of surgeons than their relative poverty. Before 1848, no major hospital had a salaried surgeon on its staff, and most surgeons ( with the exception of a notable few) made very little money from their private practices. 

Lister had an insatiable curiosity about the world and was forever creating slides to view under his microscope. Later in Edinburgh he would convert a portion of his study at home into a laboratory where there were always perched tubes filled with different materials, plugged with balls of cotton. Next to it would be his microscope and slides he made. He was also a proficient artist — a skill that would help him document in startling detail his observations made during his medical career. Yet all through his life Lister also battled depression, a “garment of darkness”, which would often descend upon him. Despite these odds he would work in the hospital and later return home to do his research. Many would marvel at his dedication and diligence.

The early training to use a microscope was to stand Joseph Lister in good stead throughout his career as he pondered over the crucial question as to why wounds that were open inevitably festered and proved fatal for the patient whereas internal injuries such as broken bones healed and the patient recovered normally. Years later his supervisor would recall that while working together at the University College Hospital in 1851, Lister “had a better microscope than any man in college”. It was the microscope that would eventually help Lister unlock the medical mystery that had been plaguing his profession for centuries. This was at a time in the nineteenth century when surgeons believed pus was a natural part of the healing process rather than a sinister sign of sepsis, so most deaths were due to postoperative infections. Operation theaters were gateways to death. Infections were frequent in hospitals. They were filthy institutions as exemplified by an anecdote where a patient lay on a hospital bed completely unaware that the mushrooms growing on his damp bed sheet was not normal. The four major infections to plague hospitals in the nineteenth century were erysipelas or St. Anthony’s Fire ( an acute skin infection which turned the skin bright red and shiny), hospital gangrene ( ulcers that lead to decay of flesh, muscle, and bone), septicemia ( blood poisoning), and pyemia ( development of pus-filled abscesses). the increase in infection and suppuration brought on by the “big four” later became known as hospitalism.

The best that can be said about Victorian hospitals is that they were a slight improvement over their Georgian predecessors. That’s hardly a ringing endorsement when one considers that a hospital’s “Chief Bug-Catcher” — whose job it was to rid the mattresses of lice—was paid more than its surgeons. 

Nineteenth century doctors had multiple theories for why infections occurred although they were clueless about how infectious diseases spread. Many surgeons believed pus was a natural part of the healing process rather than a sinister sign of sepsis. Another theory was that patients were infected by miasma arising from corrupt wounds. Between the 1850s and 1860s there was a shift from miasma being the root cause of infections towards contagion theories. Some doctors believed that contagious diseases were transmitted via a chemical or even small “invisible bullets”. Others thought it might be transmitted via an “animalcule”, a catchall term for small organisms.

The Butchering Art’s  graphic descriptions of surgical procedures in nineteenth century are horrific. They were a spectacle with the surgery taking place in a theatre packed to the gills mostly with students, physicians and few curious onlookers. Most surgeries before the discovery of choloroform were conducted with the patient wide awake through the painful procedure. The crude surgical instruments used were by today’s standards basic such as a saw. ( See image) Unfortunately most patients died in post-operative care inevitable due to infection setting in. Popular belief held it was due to the bad air in the vicinity of patient resulting in infection and ultimately death.

With the discovery of chloroform by the Scottish obstetrician James Y. Simpson and advent of anesthesia in 1846 the number of operations increased as surgeons were more comfortable operating knowing that their patients would no longer feel the pain of the knife cutting through them.  Although hospitals in Victorian England were being rebuilt with more wards the high rate of mortality continued to grow as number of patients also increased and it became near impossible to keep hospitals clean and contain the infections. Primarily also because infection control was unheard of and hospitals were known by the public as “Houses of Death”. In Victorian England population also grew dramatically from one million to over six million with at times more than thirty people living in one room. There was dirt and filth with absolute no sense of public hygiene; infections were bound to spread.

Completing his education in London, Lister moved to Edinburgh, the city which had established itself as the city of surgery. He went to work with Professor James Syme, surgeon at Edinburgh’s Royal Infirmary. Syme’s colleagues called him “the Napoleon of Surgery”. He was lightning fast as was his equally legendary cousin in London, Robert Liston, whose surgeries too Lister had witnessed. In fact Liston designed an amputation knife with a blade fourteen inches long and and a quarter inches wide. The dagger’s point, the last two inches of which were razor-sharp, was created to cut through the skin, thick muscles, tendons, and tissues of the thigh with a single slice. The “Liston knife” was Jack the Ripper’s weapon of choice for gutting his victims when he went on his killing spree in 1888.

While working in Edinburgh Lister realized his patients continued to die due to hospitalism. Frustrated Lister began taking tissue samples of his patients to study under the lens of his microscope so he could better understand what was happening at the cellular level. He was determined to understand the mechanisms behind inflammation trying to figure out the connection between inflammation and hospital gangrene. He and other surgeons tried many “solutions” such as using vellum to cover the wound to control inflammation and “water dressings” or wet bandages which they believed counteracted the heat of inflammation by keeping the wound cool. But there was no consensus as to why this occurred in the first place.

In the 1860s Lister was convinced cleanliness would help reduce mortality rates in hospitals due to hospitalism. Prior to this three doctors — Scotsman Alexander Gordon ( 1789), American essayist Oliver Wendell Holmes ( 1843) and Ignaz Semmelweis in Vienna (1847) — had tried making a similar connection between transmission of morbid substances from doctor to patient. Lister was so obsessed by this puzzle that his house surgeon said of him that a “divine discontent” possessed him.

His mind, he said, “worked ceaselessly in an effort to see clearly the nature of the problem to be solved.” Lister’s exasperation spilled over into the classroom, where he turned to his students with the question that had been haunting him for some time: “It is a common observation that, when some injury is received without the skin being broken, the patient inevitably recovers and that without any severe illness. On the other hand trouble of the gravest kind is always apt to follow, even in trivial injuries, when a wound of the skin is present. How is this? The man who is able to explain this problem will gain undying fame.” 

It was the behest of his colleague and chemistry professor, Thomas Anderson, that Lister became familiar with the research on fermentation and putrefaction  of French microbiologist and chemist Louis Pasteur. Upon reading Pasteur’s publications on the decomposition of organic material Lister began replicating the French scientist’s experiments in his laboratory at home. Pasteur’s experiments confirmed that fermentation was a biological process and that the yeast that helped produce wine was a living organism. His experiments established what is now considered a cornerstone of biology: Only life begets life. Soon the word “germ” was being used to describe these protean microbes. Pasteur began making the connection between putrefaction and fermentation as he was convinced both processes were caused by the growth of minute microorganisms. Lister too was now of the opinion that it was not the air as such but its constituent of microbial life that was the source of hospital infection.

Lister came to the vital realization that he couldn’t prevent a wound from having contact with germs in the atmosphere. So he turned his attention to finding a means of destroying microorganisms within the wound itself, before infection could set in. Pasteur had conducted a number of experiments that demonstrated that germs could be destroyed in three ways: by heat, by filtration, or by antiseptics. Lister ruled out the first two since neither were applicable to the treatment of wounds. Instead he focused on finding the most effective antiseptic for killing germs without causing further injury. 

Many substances considered to be antiseptic such as wine, quinine, iodine and turpentine, had proved ineffective or caused further damage to the tissue, making the wound vulnerable to infection. Lister tried many solutions including the popular Condy’s fluid or potassium permanganate. None worked. Then Lister remembered reading that engineers at a sewage works in Carlisle had used carbolic acid to counteract the smell of rotting garbage and to render odorless nearby pastures that were irrigated with liquid waste. An unexpected benefit of the carbolic acid was that it also killed the protozoan parasites that had caused outbreaks of cattle plague in the livestock that grazed in these fields.  Carbolic acid, also known as phenol, is a derivative of coal tar and was first discovered in 1834. Lister obtained samples of crude acid and observed its properties under the microscope. Soon he began experimenting with it on his patients but realized he needed to be a little more disciplined and methodical in his approach. So after a few trials he suspended using carbolic acid as a disinfectant for wounds in hospitals and waited for a patient with a compound fracture to show up.

…compound fractures [are] injuries in which splintered bone lacerated the skin. This particular kind of break had a high rate of infection and frequently led to amputation. From an ethical standpoint, testing carbolic acid on compound fractures was sound. If the antiseptic failed, the leg could still be amputated — something that would have likely occurred anyway. But if the carbolic acid worked, then the parent’s limb would be saved. 

In early August 1865 Lister had the opportunity to work upon the compound fracture of eleven-year-old James Greenlees whose leg had been crushed by a the metal-rimmed wheels of a cart. Lister tended to the wound by creating a space in the putty cast in to which he poured carbolic acid. He looked after the boy himself for the next few days. After the initial few days inflammation began to set in and no amount of diluted carbolic acid could stem the redness. It was then Lister created a new solution of carbolic acid with olive oil. It worked. Six weeks and two days after the cart had shattered his lower leg, James Greenlees walked out of the Royal Infirmary.

Although Lister was evangelical about antiseptic methods there were few adopters of this method. In fact his critics were greater in number and began to write even in respected medical journals like The Lancet. For a while Lister was caught in a terrible wrangle with his contemporaries about the benefits of using antiseptics and it was proving impossible for hospitals to consider using carbolic acid despite statistics proving the dramatic fall of mortality rates in which Lister had enforced antiseptics be used. That is until 4 September 1871 when Lister was summoned to Balmoral Castle to attend to Queen Victoria who was gravelly ill with an abscess in her armpit that had grown to the size of an orange. Lister chose to lance the boil and used carbolic spray to disinfect the room. The next day when he came to dress the wound he realized that pus was forming once more. He needed to quickly stem the spread of infection. Spotting the atomizer he removed the rubber tubing of the apparatus, soaked it overnight in carbolic acid, and inserted it into the wound the following morning in order to drain the pus. It worked. Queen Victoria recovered.

With the royal stamp of approval to Lister’s antiseptic system the surgeon’s fame spread far and wide. His methods were accepted as far as in London. In 1876 Joseph Lister was invited to defend his methods at the International Medical Congress in Philadelphia. The American tour was a success. It also resulted in spreading awareness as well as popularizing personal hygiene products. One of these was  Listerine invented by Dr. Joseph Joshua Lawrence in 1879 who had attended Lister’s lecture in Philadelphia, “which inspired him to begin manufacturing his own antiseptic concoction in the back of an old cigar factory in St. Louis shortly thereafter. ” Other products that sprang up were carbolic soap and toothpaste. Astonishingly one of the most surprising offshoots of this tour was the establishment of a corporation recognizable even today — Johnson & Johnson. Robert Wood Johnson upon hearing Lister speak joined forces with his two brothers, James and Edward, and founded a company to manufacture the first sterile surgical dressings and sutures mass-produced according to Lister’s methods. Lister died in 1912 after having been knighted by Queen Victoria and winning many other awards and recognition for his work.

Dr. Lindsay Fitzharris who received her doctorate in the history of medicine, science and technology from the University of Oxford embarked upon educating and engaging with the public during her post-doctoral research. She was fatigued by academia and tenure-track and was far more keen to maintain her blog The Chirurgeons Apprentice and later her videos — Under the Knife .

The Butchering Art is a fantastic history of surgery in the Victorian Age. It is a perfect balance between facts and storytelling without making the subject dull. Dr Fitzharris’s love for the subject shines through. She uses the methodology and discipline of writing academic works in presenting a highly technical subject for the lay reader. The text is well annotated with end notes for every single chapter but not disturbing the design of every page. In fact she has been accused of “bastardizing” the discipline.  To which she replies:

I think there is a misconception that writing popular history is easier than writing academic history. Both have their challenges, and just because a person can write one doesn’t necessarily mean that same person can write the other. I’m a storyteller first and foremost, and an historian second. I don’t apologize for this. Unfortunately, some academics don’t see a value in what I do. But the past doesn’t belong to scholars alone. It belongs to everyone. My hope is that I can bridge the gap between academia and popular history, and open up new and interesting subjects to a curious public.

( History of Science Society @Work interview with Dr Lindsey Fitzharris, April 2018)

 

Even though some of the academics may be disapproving of her style of making the history of medicine available, Dr. Fitzharris has won the 2018 PEN/E.O. Wilson Prize for Literary Science Writing and has been shortlisted for the 2018 Wellcome Book Prize. The Butchering Art was also featured in the Top 10 Science Book of Fall 2017, Publishers Weekly and the Best History Book of 2017, The Guardian.

Undoubtedly The Butchering Art is not for the faint-hearted for its gory descriptions of Victorian hospitals, operation theatres and death houses. Nevertheless it is an unusual page-turner for it is purely about scientific progress in Victorian England  and the remarkable discovery of Joseph Lister.

Lindsey Fitzharris The Butchering Art Allen Lane, an imprint of Penguin Books, Penguin Random  House, UK, 2017. Hb. pp. 

25 April 2018 

Ruth Jones, “Never Greener”

Welsh actress and writer Ruth Jones debut novel Never Greener is about an affair between a television actress Kate with a school teacher, Callum, seventeen years older to her. They first meet when Kate is nineteen in the mid-80s’ and then nearly two decades later. Result of their cheating on their spouses is the inevitable fallout of their respective marriages breaking up. Chiklit with a traditional plot. Mills & Boon plot for a modern reader with a supposedly pacy plot punctuated at regular intervals with sex scenes between Kate and Callum. Prior to this Jones’ writing credits include co-writing TV hit “Gavin and Stacey”, in which she also co-starred as “Nessa” alongside James Corden. She has also acted in BBC dramas “Tess of the D’Urbervilles”, “Little Dorrit” and “Hattie”, playing Hattie Jacques.

Despite this manuscript having been in a fierce 10-publisher auction in 2016 eventually won by Transworld for a two-book deal, this debut novel is rightly termed by the Guardian as a “soggy squib“. Although popular writer Jojo Moyes endorsed the book saying ‘Ruth Jones is excellent on human nature and why we make the mistakes we do. I felt for every character. Unputdownable.’ Having said that Never Greener by Ruth Jones reached number 1 in the UK adult fiction chart within days of its 5 April 2018 release.

Never Greener is fine as an airport novel and will probably be adapted for film or television fairly soon given that it has all the elements of a soap opera and most definitely features of what is deemed as “adult entertainment” on cable television. This book will soon be sold for adaptation if it has not already been done so.

Ruth Jones Never Greener Transworld Publishers, Bantam Press, Penguin Random House UK, London, 2018. Pb. pp. 416 Rs 599 

19 April 2018 

“Note on Translating the Novellas” by Velcheru Narayana Rao on translating from Telugu the novellas by Viswanadha Satyanarayana

Velcheru Narayana Rao has translated from Telugu the two novellas by twentieth century writer Viswanadha Satyanarayana — the magic realist short story Ha Ha Hu Hu: A Horse headed God in Trafalgar Square and the satirical Vishnu Sharma Learns English. These have recently been published by Penguin India.

With the permission of the publishers the translator’s note is reproduced below. It is a fascinating account on the choices writers like Viswanadha Satyanarayana make while writing fiction. These choices are not restricted to the form itself but also to the choice of language and expression and how to assert their identity through the written word. The translator’s note is fascinating to read as it sheds light on how the destination language of English misses out these deliberate linguistic choices made in the original Telugu text along with the liberties the translator himself took.

*****

Satyanarayana dictated his novels to scribes. He rarely wrote himself. He often dictated very short sentences, with a staccato effect, interspersed by long Sanskrit compounds. However, in these novellas the style is simple with no high- flown Sanskrit. The first novella, Ha Ha Hu Hu: A Horse- Headed God in Trafalgar Square, reads well, with every sentence carefully constructed, though there are occasional lapses in syntax and in marking paragraphs, which could be due to irresponsible printing. However, by 1960, when he was writing Vishnu Sharma Learns English, Satyanarayana had grown somewhat carefree. He began writing novels by the dozen, often dictating several novels the same day to scribes who worked in shifts. He dictated sentences as he pleased, never looking back to read what his scribe had written. The manuscripts were sent to press as they were. No one edited his work, and apparently no one proofread it either. One can find paragraphs that run to pages on end, because the scribe was not told to begin a new paragraph. The punctuation is inconsistent and spelling  arbitrary.  We do not have adequate information about the scribes themselves and their writing habits; and we have no way of checking if the spelling is the author’s or the scribe’s.

I call these novels oral novels, which have to be read with a different poetics in mind than those we apply to written novels. I tried to develop for my translation strategies that reflect the specific nature of the original novels. However, a certain degree of written quality inevitably enters my translation—for the very reason that I am writing and not dictating.

During the first decades of the twentieth century, the question of the dialect in which literature was to be written was hotly debated. Telugu literature until that time was mostly in verse. Classical metres were largely syllabic and they allowed only a fixed set of syllabic clusters to be used in a verse. Variations in the canonical shape of morphemes were not allowed in these metres. It was due largely to the continued use of these metres that the spelling of words and patterns of syntax in literary use remained fairly homogeneous through a period of about nine hundred years—quite a phenomenon in the history of any language. Furthermore, Sanskrit, which ceased to be a spoken language but continued to be used as a vibrant literary language for about a thousand years more, gave the Telugu literary dialect a source of sustenance and inspiration to remain uniform and distinct from its various spoken dialects. However, the emergence of the printing press in the nineteenth century generated an increased need for prose.

Paravastu Cinnaya Suri (1809–1862),  a  Telugu scholar in the employment of the East India Company, wrote a grammar of Telugu modelled after the prescriptive style of the venerated Sanskrit grammars, efficiently encompassing the literary Telugu that had been in use for writing verses for about a thousand years. He thought his grammar could be followed for writing prose for discursive purposes, ignoring hundreds of years of the practice of using a different variety of prose in commentaries and common business transactions. The administrators of the East India Company, in charge of public education, most of whom were trained in England in classical languages, prescribed Suri’s grammar in schools. However, the variations in syntax and in the spelling of words between what was acceptable in writing according to Suri’s grammar and the way educated people wrote in their daily use was so great that they almost looked like two different languages. Young men and women were told that the words and sentences as they had habitually written them were ungrammatical, and they had to learn a whole new set of rules to learn how to write.

Modern scholar Gidugu Ramamurti (1863–1940), spearheaded a movement to change the way of writing Telugu. He called the language that followed Suri’s grammar grāndhika-bhāsha, book-language, and argued in favour of adopting for writing vyāvahārika bhāsha, language used by educated people in their daily life.

His argument made a lot of sense: It was clearly artificial to try to write prose for modern use following the rules that were prescribed for writing verses in the past. However, when Ramamurti rejected Suri’s grammar as outdated, it sounded like a call for rejection of grammar as such, like telling people they can write the way they speak—without any regulations. The Telugu literary community was divided into two camps: the ‘traditionalists’ insisted that Suri’s grammar should be respected, and the ‘modernists’ argued that such restrictions fettered the freedom of writing. The arguments were fierce and the battles were endless. It was unfortunate that the debate lacked conceptual clarity. Gidugu Ramamurti, with all his great scholarship, failed to state that he was calling for a new set of regulations  and conventions for a new written language, and not for   a state of chaos where people wrote as they spoke. His argument in favour of a language used by educated people in their daily use (sishUa vyāvahārika), left room for a lot of misunderstanding. In the confusion that followed, it was not realized that nowhere in the world do people write as they speak and that all languages develop written forms that change in time, but still remain distinctly different from speech.

Satyanarayana  took  the  side  of  the  traditionalists, primarily because most of his writing was poetry. But oddly, he continued to support the traditionalists even when he wrote novels on themes of contemporary life. However, as he began to dictate his novels, his style inevitably showed the influence of spoken forms. In the end, the style in which his later novels appeared came out in an incongruous mix of styles, old and new, with words written in a variety of spellings, neither following the old grammars nor following the contemporary spoken forms. His syntax, however, was brilliantly conversational and his sentences powerfully expressive. His desire to follow an outdated grammar failed to suppress his creative energy. In the end, what Satyanarayana achieved was an arresting atmosphere created by an entirely new language that could only be named after him. His prose style became the hallmark of his novels.

Dictating the novels caused other problems as well. As Satyanarayana dictated, he tended to digress frequently from the context of the narrative. Often the digressions were so far removed that whatever he was thinking at the moment found place in the novel, either as a part of the conversation between characters or as a long commentary by the author on the situation at hand. His novels acquired a charm of their own because of these digressions and are loved by his admirers.

While translating Ha Ha Hu Hu where such digressions were few, I followed the original fairly closely. But in translating Vishnu Sharma Learns English, I decided to take some liberties. To translate the printed text as it is might be of interest to critics who might wish to study the author’s mind at work in dictation, but it would tax a non-Telugu reader, and for that matter, even a Telugu reader. Apart from the digressions, which impede the narrative, incidents with local and contemporary references would require endless footnotes. I abridged the novella, eliminated digressions and paraphrased some sentences rather than translate every word. I am aware that in the process my translation might change an oral novel into a written novel. But I hope the oral nature of the novel is still apparent. I made sure that the changes I made are minimal and do not affect the integrity of the story. I maintained the basic style of the narrative and meticulously preserved the dream.

Viswanadha Satyanarayana Ha Ha Hu Hu: A Horse headed God in Trafalgar Square ( translated by Velcheru Narayana Rao) Penguin India, Delhi, 2018. Pb. pp. Rs 399

18 April 2018 

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