[NeroASERCH]

A thread to discuss the author and his works.

[S.T.D.]

bb,
probably he is among the very few writers who wrote quality of poems were as good as his stories.I am interested in knowing about" J.J Sila Kuripukal".I have not read this can u make a brief review.

Another observation i noted about his writing is this he charges every word with the greatest possible meaning.Adarthi.He is also one of the authors whom we can read again and again with the same pleasure.

reg
Karthik

[tgs]

Karthik, i haven't read J J S K either..

[NeroASERCH]

'JJ: Sila kuRippukaL' as the title suggests is a book that is simply an assortment of notes (sketches) on JJ. Initially in the form of narration by another writer, Balu, (a fan of JJ) and later on it is excerpts from JJ's diary.

JJ is an uncompromising (malayalam) writer, deep thinker, has no tolerance towards hypocrites. You feel it is the author who is speaking thru' JJ.

the part I enjoyed very much and remember after 12 years clearly is
when Balu meets another Malayalam writer of historical novels Thirissur Gopalan nayar (modelled on Chandilyan, there has been no attempt to disguise)
Sundararamasamy, thru Balu, shows how a mediocre writer like Goplan nayar is such an adorable person while the man JJ is so cruel to others (by demolishing their dreams and illusions.)
Here is Balu's comment on JJ's criticism of G.Nayar (from my 12 memory, may not be accurate)


¸üÀ¨Éì ̾¢¨Ã¸û ÁñÊì ¸¢¼ìÌõ Ä¡Âõ §¸¡À¡Äý ¿¡ÂÕ¨¼ÂÐ. «¾¢ø *Ãñ¨¼ «Å÷ «Å¢úòРŢθ¢È¡÷. «¨Å Å¢ñ¦½ýÚ §Á§Ä ÀÈóÐ ¦ºýÚ Å¡Éò¾¢Ä¢ÕóÐ ¿¢Ä¨Åô À¢öòРš¢ø ¸ùŢ즸¡ñÎ ÅÕ¸¢ýÈÉ. *¨¾ô À¡÷ò¾Ðõ ¸¼¸¼¦ÅýÚ º¢Ã¢ì¸ ¬ÃõÀ¢òÐŢθ¢È¡ý §ƒ.§ƒ.

--
Goplan Nayar'c conversation with Tamizh writer Balu:
*ó¾ §ƒ.§ƒ. ±ýÉ ¦Àâ *ÅÉ¡? ±ý ºÃ¢ò¾¢Ã츨¾Âô ÀÊòÐÅ¢ðÎ ºÁŠ¸¢Õ¾ô §ÀẢâÂ÷¸û ±øÄ¡õ ±ùÅÇ× À¡Ã¡ðθ¢È¡÷¸û ¦¾Ã¢ÔÁ¡? §¸ÃÇ¡Å¢ø ±ò¾¨Éô ¦Àñ¸û ±ý ¸¾¡¿¡Â¸¢Â¢ý ¦À¨à ¨Å츧ÅñΦÁýÀ¾ü¸¡¸ ¾ÁìÌôÀ¢Èì¸ô §À¡Ìõ Ó¾ø ÌÆó¨¾ ¦Àñ½¡¸ *Õì¸ §ÅñΦÁýÚ Å¢ÕõÒ¸¢È¡÷¸û ¦¾Ã¢ÔÁ¡?

À¡Ö, ¯í¸û ¾Á¢ú ¿¡ðÊø ¾¢ÕõÀ¢Â *¼í¸¦ÇøÄ¡õ §¸¡ð¨¼ ¦¸¡ò¾Çí¸Ç¡§Á, ±ý¨Éô À¾¢ôÀ¡º¢Ã¢Â÷¸û ºÃ¢ò¾¢Ã츨¾ *ýÛõ ±Ø¾¢ò¾¡ ±ýÚ À¢öò¦¾Î츢ȡ÷¸û, ¾¡Á¢ú¿¡ðÊý §¸¡ð¼¡üÈ¢ø ´Õ §À¡÷ ¿¼ó¾¾¡§Á «¨¾ ÀüÈ¢ ²¾¡ÅÐ ¦º¡ø§Äý,
Å¡öôÀ¡¸ ´Õ ÀÆ了öÔû ¸¢¨¼ò¾¡ø ܼ §À¡Ðõ «¨¾ ¨ÅòÐ즸¡ñÎ ¦¾¡ûǡ¢Ãõ Àì¸õ ±Ø¾¢Å¢Î§Åý

[Big A]

I read JJSK about 15yrs back. I like to read it again. I can't forget the character, Karunagappalli Pacchu Pillai, besides Gopalan Nayar.

[Raj_Copi_Jin]

bb, Thanks for scanning the interview.

Vanchi,
Thank you for the intro to J.J.sila kuRippugaL.
I have been wanting to read that novel, but it
is out of print. kAlachchuvadu may publish it
again next year. I would like to read it since
it is considered as a milestone in tamil literature.

I have read his oru puLiya maraththin kathai
- a splendid, succint work. I am currently reading
kuzhandhaigaL peNgaL aaNgaL which is supposed to
be continuing from J.J.sila kuRippugaL. bAlu being
the central character [from whatever I have read sofar]

I have not read many of his short stories, but
recently I got hold of a collection called mElpArvai - which was put together for a bachelors
degree course in TN. Nice collection of stories.
su.rA has a unique language and style and has
inspired many writers. Read his virivum aazhamum
thEdi, kAARRil kalandha pErOsai for critical insights into tamil literary world.

[Raj_Copi_Jin]

NOTE: I'm cutting and pasting this from a longer write-up I did on Su.Ra., for some other purpose. Please forgive any discontinuities due to choppy editing. K.

Sundhara Ramasamy: An Overview

Sundhara Ramasamy (Su.Ra.) belongs to the third generation modern Tamil writers, his contemporaries being other literary giants such as Ku.Azhagirisamy, Thi.Janakiraman, Ki.Rajanarayanan, Jeyakanthan, Indira Parthasarathy, Nakulan and G. Nagarajan. He has been writing for more than 40 years now. Su.Ra. writes poetry under the name 'Pasuvaiyyah'. He founded and served as the editor for "Kalachuvadu" literary magazine for several years. Continues to be active in the literary circles and has been contributing to the meager but slowly growing literary criticism area in modern Tamil literature.

Su.Ra's earlier works are full of lyricism and sharp, ironic humor ('prasadham' for example). It almost seems as if his style was influenced by Pudhumaipithan then. His later works (like 'pallakku thookkigaL&#39 were different and adopted a poetic form, rather than a conventional prose form. Most of his works make use of his native dialect very effectively. Each of his novels-- 'oru puLiyamarathin kadhai', 'J.J. sila kuRippukaL' and 'kuzhandhaigaL, peNkaL, aaNkaL'--adopts a different narrative style. He is one of those Tamil authors who do not shy away from experimentation, for sure.

A brief review of some of Su.Ra.'s works:

107 kavidhaigaL: An anthology of poems written under the name Pasuvaiyyah, from 1959 to 1995. Using precise, simple, economic words, Pasuvaiyyah excels in bringing out the poeticism and philosophy inherent in what appears to be a mundane situation/object. This is no poet who gets seduced by empty words and the artifice of language, but one with a keen inner eye. Unpretentious, crisp, aesthetically pleasing poetry.

mElpaarvai: An anthology of nine short stories selected from the period between 1953 and 1995. Slice-of-life stories. Authentic rural touches which pervade characterization and language in fine detail, making even the older stories seem fresh and timeless.

oru puLiyamarathin kadhai: One of the more noteworthy novels to be written in Tamil, in my opinion and many others'. Su.Ra. weaves a tale about the post-independence India, by centering the narrative on a tamarind tree! Changes in the social and moral fabric are depicted with
incisive insight. The ever-changing relationship between humankind and Nature serves as a dynamic backdrop.

J.J. sila kuRippugaL: The most experimental among Su.Ra.'s works in terms of content, form, and style. Cerebralism and lyricism are two key characteristics of the narrative, which includes historical notes and diary entries, and explores the possible ranges in prose. Strong expression and a very interesting read. However, it is important to note that this novel has been received with reservations by the critics in Tamil Nadu. I feel that this piece has a distinct post-modernist brushstroke to it. I read this novel a while ago, immediately after reading post-modernist writer Samuel Beckett; that might have contributed to my perception (wrongly, may be?). I've never heard Tamil literati identify 'J.J.' as having post-modernist hues. This remains an unresolved question mark to date, for me.

kuzhandhaigaL, peNkaL, aaNkaL: Balu and Ramani characters from 'J.J. sila kuRippukaL' continue on in this 1998 novel by Su.Ra. Set in the 1937-39 timeperiod, the story divides a home space into an ever-shifting Venn diagram with three circles--the male space, the female space, and the children's space-with all three constantly trying to test and change the existing intersections and boundaries. An interesting angle, viewed against the backdrop of rigid societal codes/expectations and the freedom struggle. This novel departs from the hallmark lyrical narrative style of Su.Ra., while still employing his usual "vattaara vazhakku". For a highly emotionally-charged premise, I felt that all the emotions have not been plumbed to their fullest. Is that suppression reflective of the society of those times, or the author's shying away from total disclosure? May be I should re-read the book with a more critical perspective, instead of inevitably identifying Su.Ra. as the protagonist. (The Kumudham interview family details read like a synopsis of the core of the novel.)

Other Works: Su.Ra.'s criticism books include "na. pichamoorthyin kalai: marabum manidha nEyamum", "kaaRRil kalandha pErOsai" and "virivum aazamum thEdi". Writer Jayamohan, who considers Su.Ra. as his mentor and who is a literary critic himself, makes an observation that Su.Ra.'s critiques are based more on subjective tastes rather than an objective, analytical approach. Su.Ra. has also translated Thagazi Sivasankara Pillai's classics "chemmeen" and "thOttiyin magan" from Malayalam to Tamil.

Kanchana Dhamodharan
1999.

[radikal]

bb ,Kanchana ,vanchi
I appreciate ur effort

karthik

[Raj_Copi_Jin]

Another quotation from JJ (I'll locate my lost copy of the book soon and come up with exact passages. Until that time
I've to rely on my memory, , if you don't want me continue this please tell me)


*ÈìÌõ ¾Úš¢ø ±ý Å£ðÊý š¢ü¸¾¨Å ¡§Ã¡ ¾¡Æ¢ðΠŢðÎî ¦ºýÚ Å¢ð¼¡÷¸§Ç ±ýÚ §ƒ §ƒ «ÃüÈ¢ì ¦¸¡ñÊÕó¾¡É¡õ. *¨¾ «ÅÉÐ ±¾¢Ã¢¸û «ÅÛ¨¼Â §¾¼ø «Å¨É ±íÌõ *ðÎøÄ¡¾¾ý ÌȢ£ðο¢¨Ä ±ýÚ Å¢Çì¸õ ¾ó¾¡÷¸û.
...ÍÀò¾¢ÃõÁ¡ò¾í¸îº¢ «¨¾ì ¸ñÊòÐ ±Ø¾¢ÂÐ: "¾¡ý ¦ºøÄ §ÅñÊ ÅÆ¢ âð¼ô ÀðÊÕ츢Ȧ¾ýÀ¨¾ §ƒ§ƒ *ÈìÌõ§À¡¾¡ÅÐ ¯½÷óЦ¸¡ñ¼¡ý. ¬É¡ø *íÌ ±Õ¨Á¸§Ç¡ ¾í¸¨Çì ¸ðÊôÀ¢¨½ìÌõ ºí¸¢Ä¢¸§Ç¡Î ¾¡õ ¸Æ¢ó¾ º¡½¢¸Ç¢ý Á£§¾ ÒÃñÎ ¦¸¡ñÎ
¨Å째¡¨Ä «¨º §À¡ðÎì ¦¸¡ñÊÕ츢ýÈÉ. *íÌ ¿¡ý ±Õ¨Á¸û ±ýÚ ÌÈ¢ôÀ¢ÎÅÐ ±Õ¨Á¸¨ÇÂøÄ"

[S.T.D.]

Vanchi, please do continue. I read a borrowed book and don't own a copy either, so I'm enjoying your quotes.

KK, you're welcome. It's a rewarding exercise to discuss and analyze writers who have made solid contributions to Tamil literature (classical and modern).

[Peptobismol]

Vanchi,

That quote from JJ is interesting. I'm not quite sure whether Su.Raa's subtle satire in that the tongue-in-cheek 'quotation' from Subadhramma Thangachi is not lost on the reader as it may easily be construed as Su.Raa's own statement.

And about Su.Raa's leg-pulling of authors of historical fiction - IMO, Su.Raa is not referring to Sandilyan. There is only one direct reference to historical fiction in Tamil - 'Sivagami Ammai sabadhaththai mudithu vittarkala?'

The lines quoted in this forum about JJ's coments on historical fiction may be about a handful of Malayalam novelists (of yesteryears) who had to be content with churning out stories based largely on vadakkan kathagal (vaaL, surigai, Aromal and other chegavars, angam vettudhal etc - mostly repetitive) as they had only around 300 years of Malayalam history to fall back upon, unlike ours.

Rgds,
Era.Murugan

[radikal]

Here's an exclusive article by Sundara Ramasamy for the hub!

http://www.forumhub.com/tlit/sura.htm

please post your feedback on the article + further discussion in this thread.

[Paul Bunyan]

Íó¾ÃáÁº¡Á¢ §ºÄò¾¢ø ¬üȢ ¯¨Ã, ´Õ ¿øÄ ±Øò¾¡Çý §¿ÃÊ¡¸ô À¸¢÷óÐ ¦¸¡ûÙõ «ÛÀÅõ
Á¢¸×õ Òòн÷çðΞ¡¸ *Õ츢ÈÐ. §ƒ.§ƒ.¾¡ý Í.á. §Å¡ ±ýÚ ¿¢¨Éò¾¾üÌ Á¡È¡¸, *Å÷ *ùÅÇ× ¿õÀ¢ì¨¸Ô¼ý *ÕôÀÐ Á¸¢ú¨ÂÂǢ츢ÈÐ
«Å÷ À½ò¾¢üÌõ °÷ÍüÈÖìÌõ ¯ûÇ §ÅÚÀ¡ð¨¼ì ÜÚž¢ø ¬ÆÁ¡É §ÅÚ ÀâÁ¡½í¸Ùõ ¦¾ýÀθ¢ýÈÉ.
(§ƒ.§ƒ.¢ø ÅÕõ À¡ÖÅ¢ý ̽¡¾¢ºÂõ: ´Õ °ÕìÌ, «¾ý ¦ÀÂâÖûÇ ¸Å¢òÐÅò¾¢ý ¸¡Ã½Á¡¸ô §À¡Åáõ. '§º¡üÈ¡½¢ì¸Ã¡' ±ýÈ §¸ÃÇòÐì ¸¢Ã¡Áõ ±ýÚ »¡À¸õ)

*ǨÁ측Äò¾¢ø ºÃ¢Â¡É ÀûÇ¢ôÀÊôÒ *øÄ¡¾¡Å÷ ¬Â¢Ûõ ¦Á¡Æ¢¦ÀÂ÷ôÀ¢ø н¢óÐ ®ÎÀð¼Å÷ ±ýÀ¨¾¦ÂøÄ¡õ
«È¢Ôõ §À¡Ð ¬îºÃ¢ÂÁ¡¸ *Õ츢ÈÐ. Á¡÷ì ΦÅ¢ý ¿¨¸îͨÅ¡¸ ÀûÇ¢ìÜ¼ì ¸øÅ¢¨Âô ÀüÈ¢ì ÜÈ¢Âо¡ý ¿¢¨É×ìÌ ÅÕ¸¢ÈÐ.

ÀûÇ¢¸Ùõ ¸øæâ¸Ùõ §Å¨ÄìÌò ¾Â¡÷¦ºöÔõ («¾¢Öõ §Á¡ºÁ¡¸) *¼Á¡¸§Å *ÕóÐ ÅÕ¸¢ýÈÉ.
À¡Ã¾¢Â¡÷ ͺ⨾¢ø ¬í¸¢Äì ¸øÅ¢¨Â ´Ð츢ÂÐõ, ¯.§Å.º¡. §À¡ý§È¡÷ ¯Â÷ó¾ ¸øÅ¢¨Âô ¦ÀÈ
¿ÁÐ À¡ÃõÀâ «¨ÁôÒ¸û Ш½ ¿¢ýȨ¾Ôõ §¿¡ìÌí¸¡ø ¿¡õ ¦¾Ç¢Å¡¸§Å 'À¢üº¢ì ܼõ' ±ýÚõ
'¸øÅ¢ì ܼõ' ±ýÚõ *ÃñΠŢ¾Á¡¸ ¬ÃõÀò¾¢§Ä§Â À¢Ã¢òÐì ¦¸¡ûÅÐ ºÃ¢Â¡¸ *Õì̦ÁýÚ §¾¡ýÚ¸¢ÈÐ.

*ò¨¾¨¸Â¦¾¡Õ ¸ðΨè *¨½Âò¾¢ø ¦ÅǢ즸¡½÷ó¾ ¸¡ïºÉ¡×ìÌ ¿ýÈ¢.
ÅÆì¸õ§À¡ø *ýÚõ §ƒ.§ƒ.¢ĢÕóÐ ´Õ À̾¢:


... (Óø¨Äì¸ø Á¡¾Åý ¿¡Â÷?) «Åâý §Á¨¼ô §ÀîÍò ¾¢Èò¨¾ôÀüȢ Å÷½¨É:

«Åý ºð¨¼¨Â Á¡ðÎÅÐ §À¡ø ¨¸¨Â ¯Â÷ò¾¢ô §ÀÍÅ¡ý.
«ÅÉÐ À¢Ãºí¸ò¾¢ø ¾ÅÈ¡Ð §º¡„Ä¢º ¦ÅûÇõ ÅÃô§À¡Å¨¾ô ÀüȢ Å÷½¨É *ÕìÌõ.
*Ð «ÅÉÐ §Àý Ó측ø À¡¸õ ¾¡ñʾüÌôÀ¢ý *¼õ ¦ÀÚõ.
«Ð ÍÃñ¼ø¸¡Ã÷¸û, ¿¢ÄôÀ¢ÃÒì¸û, ӾġǢòÐÅ Å¡¾¢¸û, (¸õäÉ¢ŠÎ¸ÇøÄ¡¾) ¿õ⾢â¸û *Å÷¸¦ÇøÄ¡¨ÃÔõ «ÊòÐî ¦ºøÖõ. ´Õ ¦Àâ À¢ÃÅ¡¸õ ÅÕŨ¾ ÀüÈ¢ «Åý ¯ÕŸô ÀÎò¾¢ô §ÀÍõ §À¡Ð ±í§¸ «Ð
§ÀîÍ §Á¨¼ì¸Õ§¸ ÅóÐ ¿õ §ÅðÊ Å¢Ç¢õÒ¸¨Ç ¿¨ÉòÐŢ𼧾¡ ±ýÚ §¾¡ýÚõ.
«ù¦ÅûÇõ Åó¾ ÁÚ¿¡û ÝâÂý ±ØóÐ ÅóÐ *¦¾ýÉ ¿¡õ §¿üÚ À¡÷ò¾ ¯Ä¸õ¾¡É¡ ±ýÚ ¬îºÃ¢ÂôÀðÎô À¢ÈÌ Ìà¸Äòмý ¾ý À½ò¨¾ò ¦¾¡¼Õõ

[Paul Bunyan]

Thanks to all at Forumhub for the su.raa interview.
Two memories stirred by su.raa (I am sure others have gone thru similar ones!) made the reading very enjoyable: 1) the 'swimming' of cinema-hungry kids on my head when I have stood in line in theatres at Salem 2) the worry about book-shops not having adjoining washrooms !

[Ifroham4]

Thanks to Forumhub for bringing out such exclusives. If FH can putup the entire novel (Kanchana, can u do something on this )) JJSK, I will be thrilled!!!!

[Paul Bunyan]

Venkat: The short stories I could appreciate
and remember now are
"Rathnaabaayin aangilam" and
"pakkaththil vantha appaa"
the second one is such a delightful story froma child's point of view.
The description about the special treatment to a periyappa is great. And the child's view point tells us so much about us adults.

I've that book with me so let me (for once) give a
100% accurate quote. A poetic observation:

... «õÁ¡ ÅóÐ Å¡ºø ¾¢ñ¨½¨Âô À¡÷ì¸ *Õó¾ ƒýÉÄ¢ý À¢ýÉ¡ø ¿¢ýÈÀÊ ¦¾¡ñ¨¼¨Âì ¸¨Éò¾¡û.
«Ð¾¡ý «ÅÙ¨¼Â Š¾¡Éõ. «Åû ÅóÐÅ¢ð¼¡û ±ýÀ¾üÌ «ó¾ì ¸¨ÉôÒ. *É¢§Áø «ôÀ¡ ¦¾Õ¨ÅÔõ ¦ºÊ ¦¸¡Ê¸¨ÇÔõ, ¦¾ý¨É ÁÃí¸¨ÇÔõ À¡÷òÐô ÀÄ §¸ûÅ¢¸¨Çì §¸ð¸, «ôÀ¡Å¢ý À¢ý Áñ¨¼¨Âô À¡÷ò¾ ÀÊ «õÁ¡ À¾¢ø ¦º¡øÅ¡û.


(Incidentally, when I recommennded that short story to people who haven't read anything besides anandha vikatan, they told me they liked it very much.)

[Ifroham4]

I do not see much of an intellectual dishonesty in old su.raa and today's. I can only see a constantly evolving person (which is very important to creativity). To change is human, we all continuously modify our opinions on issues as we get more insight into the phenomena. As long as a man tries to be honest changing opinions should not matter. Rather, Changing opinions are manifestions of intellectual honesty. To utter something and later sticking to it (even after realising that is wrong - is bad).
About subjective critiques - yes they are needed as much as the objective variety. Esp. if the critique happens to be a well read and honest. They are much easy to handle for the reader - you know well that he is subjective and you can understand the contradictions easily. I have not read much of his analyses.

kattabommu - who is a real communist anyway? An example would do good to depict what you have against su.raa in your opinion.

[Big A]

I have read many of SU.Ra's works. It is a pleasant experience reading his works. But when one tries to associate and contrast his literary works and commentary on political idealogies, one may realize that there is an underlying brhamanical aspirations in SU.Ra's works. Let me clarify my assumption to this forum before I make this comment. I strongly believe that Brhamanical idealogy is a form of primitive Nazism. In my personal opinion, I may be wrong, his literary ideas resemble Hitlerian world of Wagners and Nietzhes. Got it? Although he is apparently critical about Nazism and Brhamanism, I guess SU.RA is intuitively drawn to these ideas. He is somehow attached to these ideas and his litereary works reflect these aspirations. It is my personal opinion, Of course, I am not a psychoanalyst to explore and expose these connections.

[Lillie_Steins]

Thiru Murugan,

Before I attempt to respond to your query, let me clarify that my criticism is not at the level that one would immeadiately associate the words Nazism and brhamanism. My criticism is based on my understanding and interpretation of su.ra's works. I may be wrong. As I said, I am not a psychoanalyst to explore the motives behind his words.

Nazism and Brhaminism(bramanical HInduism) share several things in common in their origins, philosophical foundations, and the external manifestation of socio-political structure. Nazism is anti-christ though they claimed that Jews destroy their faith. Nazism is anti-socialism though they claimed that they are socialist. Nazism is based on the dogma of racial supremacy.
Let us look at some of the ideas they had adopted to support their socio-political views. MOst of these ideas were lifted from the rantings of German intellectuals like Nietzche, Wagner etc.
1)There is no such thing as morality. Morality is a fake phenomenon. Reliogious Idealogies such as Christianity and political views such as communism are against free-spirit which is considered to be the idiosyncratic asset of Aryan race. The ultimate truth in life is will to power. As a superior individual, you can do whatever you want to exercise your free-spirit. Machiavellianism is justifiable. This idea was extended to National level and Germanic racial domination was viewed as a natural phenomenon. Nietzche's writings also had roots in epicurean pleasure seeking philosophy. To put it short, as a race, they can do whatever they want without worrying about the pains it may cause to others, of course in the name of Aryan virtue, the free-spirit. If you compare these ideas with what India had witnessed after the advent of Brhamanical hinduism in the last 2000 years in the Northern India, and for the last 1000 years in the southern India, Brhaminism had already achieved what HItler could only dream about. Brhaminism used religious tools to achieve this end. Chanakyas' work perfectly reflect these views.

I am not sure, whether NIetzche's works are merely descriptive of the human nature or a prescription for the Germanic race. According to my understanding, SU.RA's character James Joseph(J.J) and his rantings reflect the image of Nietzche and his so called search for truth and perfectionism.

Similarly, I don't know whether his literary works are mere description of human nature or a message supporting Nietzche's ideas.

I don't have the copies of su.ra's works at hand. I could not recollect the passages that resemble Nietzche's writings.

Kattabommu

[tgs]

±ýÉ ¸ð¼¦À¡õÓ, §ƒ.§ƒ. §À¡ýÚ ¯ñ¨Á¨Âò §¾ÎÀÅ÷¸û ¿¡ƒ¢Â즸¡û¨¸Â¢É÷ ±ý¸¢È£÷¸û. «ôÀʦÂýÈ¡ø, Òò¾¨ÃÔõ, ¸¡ó¾¢¨ÂÔõ «¾¢ø §º÷òÐÅ¢¼Ä¡Á¡?

ÀÄÓ¨È Í.á.¨Å Å¢Á÷ºÉõ ¦ºöÔõ ¿£í¸û *á. ÓÕ¸ý §ÅñΧ¸¡û Å¢ÎòÐõ ¾ì¸ ¬¾¡ÃÁ¡É À̾¢¸¨Ç §Áü§¸¡û ¸¡ð¼¡Áø
º¡ìÌ ¦º¡øÅÐ Ó¾¢÷¨Â§Â¡ ¦À¡ÚôÒ½÷¨Å§Â¡ ¸¡ð¼Å¢ø¨Ä.

Í.á. ¿¢¨È ż¦Á¡Æ¢î¦º¡ü¸¨Çô ÀÂýÀÎòÐŨ¾ì Ì¨È ÜÚ¸¢È£÷¸û. *¾üÌ ¯í¸ÙìÌò ¾Á¢ú ¦Á¡Æ¢Â¢ý Á£ÐûÇ ÀüÚ ¸¡Ã½õ ±ýÚ ¦¸¡ûÇÄ¡Á¡? ¬É¡ø 'â„¢ Á§É¡À¡Åõ' ±ýÈ ¦º¡ø¾¡ý ¯í¸ÙìÌ ´Õ ¸Õò¨¾ò ¾¡íÌõ ¦À¡Õò¾Á¡É ¦º¡øÄ¡¸ô Àθ¢ÈÐ.
I would like to know whether he is suffering from "Rishi Manobhavam" or in other words "armchair brhamanical
marxism"
(¯í¸Ù¨¼Â ʺõÀ÷ 10¬õ ¿¡û ÜüÚ).
«î¦º¡øÖìÌ ²üÈ ¬í¸¢Äî ¦º¡ü¸¨Çì ¸ñÎÀ¢ÊìÌõ Ó¨ÉôÒ ²§É¡ ¾Á¢¨Æô ÀüÈ¢ì ÜÚõ §À¡Ð *ø¨Ä.
'¸¼×û' ±ýÈ ¦º¡øÄ¢ý «Õ¨Á¨Âô Ò¸Æ ¿£í¸û ¦¾¡¼í¸¢ÔûÇ *¨Æ¢ø ¾Á¢Æ¢ø ²Ðõ ±Ø¾ Ó¨ÉÂÅ¢ø¨Ä.
¯í¸Ù¨¼Â Áü¦È¡Õ Üü¨È ¿¢¨É×ÀÎò¾ Å¢ÕõÒ¸¢§Èý:
I admire him as a great writer. I have doubts about his intellectual integrity.
(«§¾Å¢¼ò¾¢ø ¿£í¸û Í.á.¨Åô ÀüÈ¢ì ÜÚÅÐ)

¯í¸ÙìÌ ¿£ð§„ ÀüÈ¢ ¿¢¨È ¦¾Ã¢ó¾¢Õ츢ÈÐ. «¨¾ *ó¾¢Â À¢Ã¡Á½¢Âò§¾¡Î ´ôÀ¢ðÎ §¿¡ìÌõ ¯í¸û ¦¸¡û¨¸¨Â Å¢ÇõÀ
*ùÅ¢¨Æ¨Âò ¾ÅÈ¡¸ô ÀÂýÀÎòи¢È£÷¸¦ÇýÚõ, Í.á.¨Å ¬¾¡ÃÁ¢øÄ¡Áø ̨ÈÜÚ¸¢È£÷¸û ±ýÚõ ¯í¸û Á£Ð ¿¡ý ÌüÈï º¡ðθ¢§Èý.