Martin Wickramasinghe |
This is
the first in a series of sketches on certain elusive characters in the novels
of Martin Wickramasinghe. A caveat: they are aimed at first-time readers of this
unique and for me the greatest writer Sri Lanka produced. Nothing more. This
article deals with Tissa from the Koggala trilogy.
I was very
young when I came across Martin Wickramasinghe. The book was Madol Duwa,
which I suppose no childhood would be complete without here. It took me some
time to appreciate Wickramasinghe's extraordinary breadth and keen eye for
detail. I remember reading his biography in Grade Eight. I also remember coming
across a word in there which stuck with me ever since: "ස්වෝත්සාහයෙන්" ("by
oneself" would be a rough translation). To me, no better word could
describe this man, lacking any kind of formal education and at the same time so
multifaceted in ways no education could impart.
It took
some years for me to revisit the man. It was through another book of his,
arguably his greatest and representing the peak of Sinhala fiction. The book
was Viragaya. Perhaps it was a flaw on my part, but I had seen Tissa
Abeysekera's film adaptation beforehand. I don't know whether my reading of the
book was adulterated with any preconceived bias towards that film, but I
enjoyed the book through and through.
Viragaya was
quite obviously a world away from Madol Duwa. In terms of mood,
characterisation, and narrative style, no two books could have been more
different. I remember now just how "hard" it was to keep track of
Aravinda Jayasena's story, narrated as it was through a series of vignettes
more self-reflective and self-critical than in any other story I had read until
that point.
Then
came the Koggala trilogy. There were those who claimed that Gamperaliya diverted
the Sinhala novel from the romantic world of Piyadasa Sirisena and W. A. Silva.
That's true. The story of Gamperaliya teetered beautifully between
social commentary and romantic fiction: as witness, for instance, in the
sequence of the pilgrimage to the temple. For the first time in a Sinhala
novel, I discovered just how beautifully language could be used to depict
a social process, in this case the deterioration of one social order (the old
aristocracy) and the emergence of a new one (the capitalist aristocracy).
But
there was something missing in Gamperaliya. Some vital character, some
plotline, was being sidelined, and deliberately so. I didn't know who or what
this was. Hesitantly, I plunged into Kaliyugaya, the sequel to Gamperaliya.
I read
the first few chapters. Looked at them again. Made notes. Thought. And then,
out of the blue, it struck me: there was one character, the only one who appears
in all three novels, who caught my interest. The character, as anyone will
know, was the brother in the Kaisaruvatte family, Tissa.
Perhaps
owing to this, I found Kaliyugaya the richest of the three novels. There
was a charm to the whole story. I just couldn't figure out what it was. In
terms of characterisation, of plotline, of narrative, and of social commentary,
it is considered vastly superior to the other two stories.
The
entire story of Kaliyugaya hovers between two worlds, that of the
village to which Nanda and Piyal (the two main characters in the first two
stories) belong and the metropolis to which they are now removed. The conflict
that ensues thereafter is recorded beautifully, sharply, and sadly by Wickramasinghe.
It seems at one point that nearly every complex emotion, self-contradictory as they
are, is captured by him in the story. But this is beside the point here.
There
is a sequence in Gamperaliya which I go to again and again. Those who
have read it will remember the scene where Tissa, in Colombo and walking around
the less frequented areas therein, comes across a prostitute. In a memorable
encounter, Tissa walks around a shanty settlement, and Wickramasinghe captures
his elusive mood (for Tissa's psychology is that: elusive), through a series of
vignettes with regard to the sights, sounds, and smells (in particular the
smell of fried chicken intermingling with the stench of a drain) thereof.
Kaliyugaya |
This
sequence is remembered at one point in Kaliyugaya. By this point,
Tissa's character has become all but comprehensible to us. The only thing we
understand about him is this: he desists from responsibility. Very frankly, Wickramasinghe
depicts Tissa’s attitude to women, shaped by his love for and fascination with
them and also by his way of giving them up when forced out of an affair. For a
while, I wondered where else I had come across such a character as this, and
then it hit me: Aravinda Jayasena.
Viragaya isn’t
considered a landmark in Sinhala fiction for its narrative structure alone. For
the first time in our literature, at least in the 20th century and
in the context of the novel, there is presented to us a character in the mould
of a "superfluous man". Yes, that term eluded me for some time. I
wondered where exactly such a character, whether in a novel or in real life,
could emerge from. I did my reading for some time. I realised then that
Aravinda Jayasena's character had been shaped by two diverse and yet mutually
inclusive sources: the stories of the Bodhisattva in the Pansiya Panas
Jathaka, and the Russian novel.
It is
acknowledged by some that Aravinda Jayasena is presented as a Bodhisattva-like
figure. As crass as this generalisation may be, this is true. The entire story
of Viragaya deals with a selfless man, selfless not just because he is
altruistic, but because he realises the superficial quality of this world and
tries to shy away from it. Ever shrewd and sympathetic towards women, Wickramasinghe
portrays a threefold depiction of womanhood itself by the female characters in
the story: Menaka (Aravinda's ambitious sister), Sarojini (his fiancée, whom he
lets go), and Bathee (the “vulgar” girl who looks after him towards the end).
They entangle in his world, and his attitude to them eventually reflects his
attitude to the world at large.
It is
also acknowledged that Aravinda is not your typical protagonist. He is no hero,
he is not vindicated at the end, and he never reconciles with the outside
world. A deconstruction of Aravinda would be necessary here, but this is not
the time for that. Suffice it to say this then: the closest "stock figure"
Western literature could offer as an analogy to him was the "superfluous
man", to be found in the novels of Dostoyevsky and in particular in Ivan
Goncharov's novel Oblomov. The plot of that story revolves around an
aristocrat who is incapable of shouldering any responsibility, and who notoriously
doesn't move from his bed in the first 40 or so pages.
The
point I'm trying to drive at is this: Aravinda Jayasena's character represented
a peak in Martin Wickramasinghe's career as a writer and an observer of
individuals. This antiheroic individual, I think and I believe, was what he
first struggled to depict in the character of Tissa in the Koggala trilogy.
Every writer who figured in prominently in his or her country’s literature
maintained a dominant pattern with regard to choice of themes and character in
their novels. This is the case with Shakespeare, with Dostoyevsky, and with
Salman Rushdie.
The
characters that Martin Wickramasinghe built up in the Koggala trilogy all
succumb to the pressures of a changing social order. They do not shy away from
it, but at the same time fall victim to it. Within this process of construction
and destruction, we see and empathise with the only character who neither
succumbs to nor shies away from it; a character who accepts the better aspects
to the new order while at the same time critiquing its defects. This is Tissa. This
is that antiheroic character which figures in Wickramasinghe’s entire career.
Written for: Ceylon Today LATITUDE, November 9 2014
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